Mengelt Basel Antiqua

Mengelt Basel Antiqua Linotype Mengelt Basel Antiqua™ The New Design of a Historical Typeface

Mengelt Basel Antiqua Eine historische Druckschrift in neuer Gestalt Design by Christian Mengelt, licensed for Linotype Originals

Mengelt Basel Antiqua Regular

Monotype GmbH Werner-Reimers-StraĂ&#x;e 2-4 61352 Bad Homburg Germany www.linotype.com

Mengelt Basel Antiqua Italic

The New Design of a Historical Typeface The typeface «Basel Antiqua», which was used in 15th and 16th century by the different Basel Printers in their early humansitic publications, were for the book design during this period of historical importance.

The detailed study of the early Basel oldfaces formed also the basis to the new design of the Mengelt Basel Antiqua and their application for the new English edition of Andreas Vesalius’ Fabric of the Human Body by Karger Publishers, Basel. For the print of this complex scientific work, a typeface with stylistic reference to the historical model was searched, however, with the technical qualities and features of a modern text font.

Eine historische Druckschrift in neuer Gestalt Der Schrifttypus «Basel Antiqua», der im 15. und 16. Jahrhundert durch verschiedene Basler Buchdrucker in ihren frühen humanistischen Druckwerken verwendet wurde, war für die Buchgestaltung dieser Zeit von historischer Bedeutung.

Das eingehende Studium dieser frühen Basler Drucktypen bildete dann auch die Grundlage zur Gestaltung der Mengelt Basel Antiqua und deren Anwendung für die englische Neuausgabe von Andreas Vesalius «Fabric of the Human Body» durch den Karger Verlag, Basel. Für den Druck dieses komplexen wissenschaftlichen Werks war eine Schrifttype gesucht mit stilistischem Bezug zur historischen Vorlage, jedoch mit den technischen Eigenschaften einer modernen Textschrift.

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Nicolas Jenson in Venice Nicolas Jenson is an outstanding example of the early printers of Italy, who in the 15th century, in the spirit of the Renaissace, created a new roman typeface after the model of the humanistic book hands that were based on the Carolingian minuscule (8th to 10th century). In the assumption that this was the writing of classical antiquity, they were called «lettera Antica» (the old script).

The first «Venetian Antiqua» by Nicolas Jenson, developed around 1470, became the prototype of a new type style, and as a result has been widely imitated.

The so-called roman or old style typefaces of the Venetian printers, and particularly also the new typography and book design of the Italian Renaissance, also had a determining influence on the new typographic orientation of different Basel printers in the late 15th and early 16th centuries.

Nicolas Jenson in Venedig Die frühen Buchdrucker Italiens, wie etwa Nicolas Jenson als hervorragendes Beispiel, schufen im 15. Jahrhundert ganz im Geiste der Renaissance ihre neuen Druckschriften nach dem Vorbild der humanistischen Buchhandschriften, die auf der karolingischen Minuskel (8.-10. Jahrhundert) basieren. In der vermeintlichen Annahme, diese sei die Schrift des klassischen Altertums, nannte man sie «lettera antica» (die alte Schrift).

Die erste «Venezianische Antiqua» von Nicolas Jenson, entstanden etwa um 1470, wurde das Vorbild eines neuen Schrifttypus und in der Folge weitherum nachgebildet.

Diese Antiqua-Druckschriften der venezianischen Drucker, und besonders auch die neue Typografie und Buchgestaltung der italienischen Renaissance, hatten demzufolge bestimmenden Einfluss auf eine neue typografische Ausrichtung verschiedener Basler Buchdrucker des späten 15. und frühen 16. Jahrhunderts.

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Typeface example of: Diogenes (Laertius), Vitae philosophorum, Nicolas Jenson, Venice, 1475 (Bayerische Staatsbibliothek M端nchen: 2 Inc.c.a.366)

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Johann Amerbach, Johannes Froben and Johann Petri, Basel Printers After his studies in Paris, Johann Amerbach stayed for a short time in Venice, the center of humanistic book printing.

Around 1475, he moved to Basel to take up his own printing office. Therefore, Amerbach devoted special attention to the printing of works by contemporary humanists.

After 1500, he ran his Basel printing office together with Johannes Froben and Johann Petri. After the death of Amerbach in 1513, Johannes Froben took over and built up the business to be one of the most important printing firms of Basel.

The letterpress of Amerbach, Froben, and Petri had a stock of numerous different type alphabets, among them several roman typefaces, mainly for the printing of the works of the early church fathers and humanists. Thus, these Basel printers contributed greatly to the spread of the roman typeface in the German-speaking countries, where Gothic typefaces were still in use.

Johann Amerbach, Johannes Froben und Johann Petri, Buchdrucker in Basel Johann Amerbach hielt sich, nach seinem Studium in Paris, für kurze Zeit in Venedig, dem Zentrum des humanistischen Buchdrucks, auf, bevor er um 1475 nach Basel übersiedelte, um dort seine eigene Buchdruckwerkstatt zu eröffnen. Besondere Aufmerksamkeit widmete Amerbach dann auch dem Druck der Werke zeitgenössischer Humanisten.

Nach 1500 führte Johann Amerbach seine Basler Druckerwerkstätte zusammen mit Johannes Froben und Johann Petri.

Diese wurde in der Folge, nach dem Tod Amerbachs 1513, von Johannes Froben zu einer der bedeutensten Druckerwerkstätten Basels ausgebaut.

Die Offizin von Amerbach, Froben und Petri verfügte über einen grossen Bestand verschiedener Schrifttypen, darunter auch verschiedene Antiquaschriften, hauptsächlich für den Druck der Werke der frühen Kirchenväter und Humanisten. Dadurch hat die Basler Offizin viel dazu beigetragen, die Antiquaschriften auch im deutschsprachigen Raum, wo vermehrt noch gotische Druckschriften verwendet wurden, zu verbreiten.

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Typeface example of: Erasmus, Novum Testamentum, Johannes Froben, Basel, 1522 (Universit채tsbibliothek Basel: FG V 42)

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Johannes Oporinus in Basel At around 1537, after extensive scientific studies and teaching in Strasbourg and Basel, Johannes Oporinus worked in Basel as one of the most important printers and publishers of the time.

One of the many outstanding and also typographically admirable printings of Johannes Oporinus’ letterpress was the anatomy atlas „De humani corporis fabrica“ by the great humanists Andreas Vesalius. This work was published in Basel in 1543 in a first Latin edition.

The typefaces of this great work, different copies of which can still be seen at the university library of Basel, served then mainly as a formative basis for the project of a new design for the historical Basel old style typefaces, the Mengelt Basel Antiqua.

Johannes Oporinus in Basel Nach umfangreichen wissenschaftlichen Studien und Lehrtätigkeit in Strassburg und Basel wirkte Johannes Oporinus seit etwa 1537 als einer der in seiner Zeit bedeutendsten Buchdrucker und Verleger in Basel.

Eines der vielen hervorragenden und auch typografisch bewundernswerten Druckwerke der Offizin von Johannes Oporinus war der Anatomieatlas «De humani corporis fabrica» des grossen Humanisten Andreas Vesalius. Dieses Werk erschien 1543 in einer ersten lateinischen Ausgabe in Basel.

Die Schrifttypen dieses grossartigen Werks, das heute noch in verschiedenen Exemplaren in der Universitätsbibliothek Basel erhalten ist, diente dann auch hauptsächlich als gestalterische Grundlage für das Projekt einer Neuformulierung der historischen Basler Druckschriften der Renaissance, der Mengelt Basel Antiqua.

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Typeface example of: Andreas Vesalius, De humani corporis fabrica, Offizin Oporini, Basel, 1543 (Universit채tsbibliothek Basel: Lb I 1)

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Basel Punch Cutter and Type Foundry in the 16th Century The production of typeface letters, i.e. punch cutting and type founding technically formed the basis of early book printing. The fact that book printing in Basel belonged ​t ypograhically to the most beautiful of its time, is closely connected to highly developed handicraft of the Basel goldsmiths, who carried out excellent high-quality work thanks to their expertise as «Siegel» cutters and engravers in the technology of punch cutting for typefaces.

Unfortunately, we know very little about the design and punch cutting of typefaces in the printing office of Amerbach and Froben – in contrast to the early Venetian printers (e.g.

Jenson, Manutius) Amerbach and Froben came more from the scientific than from the artisan side of book printing.

However, regarding the printing process they were of highest quality for their time – also the casting of their type alphabets belonged to its special achievement. The type punches, however, were probably partiallly outwart cut for them by order and after their templates.

Basler Stempelschneider und Schriftgiesser im 16. Jahrhundert Die Herstellung der Schrifttypen, das heisst, Stempelschnitt und Schriftguss, bildete technisch die Grundlage des frühen Buchdrucks. Dass der Buchdruck in Basel typografisch zu den schönsten seiner Zeit gehörte, hängt aufs engste mit dem hochentwickelten Handwerk der Basler Goldschmiede zusammen, die durch ihre Meisterschaft als Siegelstecher und Graveure auch in der Technik des Stempelschnitts für Druckschriften hervorragende Qualitätsarbeit leisteten. Über den Entwurf und Schnitt von Schrifttypen in der Offizin von Amerbach und Froben ist leider nur wenig Genaues überliefert – im Gegensatz zu den frühen venezianischen Druckern (Jenson, Manutius) kamen Amerbach wie auch Froben mehr von der wissenschaftlichen als von der handwerklichen Seite zum Buchdruck.

Technisch war die Basler Offizin für ihre Zeit jedoch qualitativ hochstehend ausgerüstet – auch der Schriftguss der eigenen Typenalphabete ghörte zu ihrer besonderen Leistung. Die Schriftstempel wurden jedoch vermutlich zum Teil für sie im Auftrage und nach ihren Vorlagen auswärts geschnitten.

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Three Historically Different Alphabets The printing types of the Renaissance are based on three historically and typographically different alphabets, which in the book design at that time were used partially mixed and, in addition, independently.

Drei historisch unterschiedliche Alphabete Die Antiqua-Druckschriften der Renaissance basieren auf drei historisch und typografisch unterschiedlichen Alphabeten, die in der damaligen Buchgestaltung zum Teil durchmischt aber auch als eigenständige Schriften eingesetzt wurden.

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1. The majuscule alphabet – derived from the classical roman capital letter forms – was used as initial letters at the beginning of sentences as well as word beginnings but mainly in titles.

2. The minuscule alphabet – derived from book handwriting of the Renaissance, the humanist minuscule – forms the typographic basis of the roman (old face) typestyle.

3. The roman italic alphabet – derived from the handwritten italic scripts of the Renaissance, was developed a little later, and was used as a more profane alternative to the more elegant roman book type.

1. Das Majuskelalphabet – abgeleitet von der klassischen römischen Kapitalschrift, wurde für Initialen von Satz- und Wortanfängen und hauptsächlich als Titelschrift eingesetzt.

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2. Das Minuskelalphabet – abgeleitet von den Buchhandschriften der Renaissance, der humanistischen Minuskel, bildet die typografische Grundlage der AntiquaDruckschrift.

3. Die Antiqua-Kursiv (Italic) – abgeleitet von den handschriftlichen Renaissance-Kursivschriften, wurde zeitlich etwas später entwickelt, und als profanere Alternative zur gehobenen Antiqua-Buchschrift verwendet.

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The Historical «Basel Antiqua» as Starting Point to a New Typeface Design The objective of the project was the design of a new typeface based on the historical „Basel Antiqua“ (old face) of the original printings of the 16th century. The starting point was the detailed study of these historical typefaces in different original printings from Basel, as, for example, appropriate prints from the workshops of Amerbach, Froben and Oporinus.

In comparison with roman typefaces of Italian prints (Jenson, Bembo), the character of the roman typefaces of the Basel prints are altogether depicted rather more strongly and more simply. The following style building features are highlighted in detail: Open, round shapes with strong basic strokes, fine shape of the serifs and pronounced contrast of the stroke modulation. The strong writing ductus is on the one hand affected by the broad pen of the handwritten humanistic minuscule and on the other hand technically marked by the interaction of letter punching, color, paper, and printing technique.

Die historische «Basel Antiqua» als Ausgangspunkt zur Gestaltung einer neuen Druckschrift Zielsetzung des Projekts war die Gestaltung einer neuen Druckschrift auf der historischen Basis der Antiqua-Schriften der Basler Originaldrucke des 16. Jahrhunderts. Ausgangspunkt dazu war das eingehende Studium dieser Druckschriften in verschiedenen originalen Basler Druckwerken, wie beispielsweise entsprechende Drucke der Offizin von Amerbach, Froben und Oporinus.

Im Vergleich mit Schriften italienischer Drucke (Jenson, Bembo) wirkt die Antiqua der Basler Drucke in ihrem Charakter insgesamt eher kräftiger und schlichter. Im Einzelnen sind dabei folgende stilbildende Merkmale hervorzuheben: Offene, runde Formen mit kräftigen Grundstrichen, feine Ausbildung der Endstriche (Serifen) und ausgeprägter Kontrast der Strichmodulation. Der kräftige Schriftduktus ist einerseits von der Breitfeder der handschriftlichen humanistischen Minuskel beeinflusst und andrerseits technisch durch das Zusammenwirken von Schriftstempel, Farbe, Papier und Drucktechnik geprägt.

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The example shows an excerpt from the original minuscule letters and their conversion to a digitized shape: From photographic enlargement of the historical model, to postscript outlines, to the digitally revised version of the new letterform design.

Das Beispiel zeigt einen Auszug originaler Minuskelbuchstaben und deren Umsetzung in eine digitalisierte Form: Von der fotografischen ​Vergrösserung der historischen Vorlage, zur digitalisierten Fassung der Zeichen in Postscript-Konturen, zum neuen Design der Schrift.

Typeface example of: Andreas Vesalius, De humani corporis fabrica, Offizin Oporini, Basel, 1543 (Universitätsbibliothek Basel: Lb I 1)

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The Image of the New Typeface Mengelt Basel Antiqua The purpose of the redesign was not a faithful replica of the historical typeface, but an independent type design with the typical stylistic features of the historical model. This new design, however, had to meet today’s technical requirements for a digital typeface.

This required, in addition to the design and technical review of a basic font, a stylistic uniformity and harmonization of the three historically different alphabets majuscule, minuscule and italics.

Historically, the humanistic minuscule alphabet was determining as the formative basis. The individual forms were to be revised carefully, so that the basic character of the typeface as a whole remained largely intact.

The capital letters were to harmonize in shape, style, and proportionality to the minuscule, and to define the overall image of the font according to the present technical conditions of typographic design and legibility.

Das Schriftbild der neuen Mengelt Basel Antiqua Zielsetzung der Neuformulierung war keinesfalls eine originalgetreue Nachbildung der historischen Vorlage, sondern eine eigenständige Schriftgestaltung mit den typischen stilistischen Eigenschaften des historischen Vorbilds. Diese Neufassung musste jedoch den heutigen technischen Anforderungen an eine digitale Satzschrift entsprechen.

Dies bedingte, neben der gestalterisch-technischen Überarbeitung der Grundschrift, eine stilistische Vereinheitlichung und Harmonisierung der drei historisch unterschiedlichen Alphabete Majuskel-, Minuskel- und Kursivschrift.

Dabei war historisch das humanistische Minuskelalphabet als gestalterische Basis massgebend. Die einzelnen Formen waren sorgfältig zu überarbeiten, so dass der Grundcharakter des Schriftbildes insgesamt weitgehend erhalten blieb.

Die Majuskeln waren in der Formgebung stilistisch und proportional auf die Minuskelschrift abzustimmen und das Gesamtbild der Schrift gemäss den heutigen typografischen und lesetechnischen Anforderungen neu zu definieren.

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oecdpgarfst Mihymnud Omnium hominum quos ad amorem veritatis natura superior impressit hoc maxime interesse videtur: ut, quemadmodum de la bore antiquorum ditati sunt, ita et ipsi posteris prolaborent, quatenus ab eis posteritas habeat quo ditetur.

Shape Properties By design, the subtle details of individual form and shape proportions have a significant impact on the rhythm and thus particularly to a balanced overall picture of the typographic font.

The left inclined axes of round forms, the formation of the arc beginnings and endings, and domination by the strong stroke contrast modulation is due to the ​characteristics of the broad pen written humanist book hand script.

The formulation of the basic strokes and their endings, the serifs, is more that of classical roman capital inscription letterforms.

Formeigenschaften Die subtile Durchgestaltung einzelner Formdetails und Proportionen hat wesentlichen Einfluss auf den Rhythmus und damit besonders auch auf ein typografisch ausgeglichenes Gesamtbild der Schrift.

Die stark nach links geneigten Achsen der Rundformen, die Ausbildung der Bogenanfänge und -enden sowie die durch den starken Strichkontrast geprägte Strichmodulation sind auf den Duktus der mit Breitfeder geschriebenen humanistischen Buchhandschrift zurückzuführen.

Die Formulierung der Grundstriche und deren Abschlüsse, der Serifen, ist mehr denjenigen der Römischen Kapitalschrift nachgebildet.

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Basic Roman and Italic Font The first form of a roman cursive printing type, now known as old face italic, was cut by Francesco Griffo in 1500 on behalf of the Venetian printer Aldus Manutius. Derived from the handwritten cursive scripts of the Renaissance, this roman cursive served as an independent typeface. Because of their narrow ductus they could be used against the open and wide-running roman type in book production more economically and space-saving.

These two fonts, roman and italic, were historically from different backgrounds and different use, so originally they did not match each other in its typographic shape.

Today‘s typographic requirements for a text typeface, however, require a harmonization of these two type styles into a uniform typeface family. Consequently, the new italic variant of the Basel Antiqua differs from the historical model and is a complementary type design to the basic font.

Grundschrift und Kursivschrift Die erste kursive Form einer Antiqua-Druckschrift, die Antiquakursiv (heute als Italika oder Italic bezeichnet), wurde um 1500 von Francesco Griffo im Auftrag des venezianischen Buchdruckers Aldus Manutius geschnitten. Abgeleitet von den handschriftlichen Kursivschriften der Renaissance, diente diese Antiquakursiv als eigenständige Druckschrift. Durch ihren engeren Duktus liess sie sich gegenüber der offenen und breiter laufenden Antiqua in der Buchproduktion ökonomischer, platzsparender einsetzen.

Diese beiden Schrifttypen, Antiqua und Antiquakursiv, waren historisch von verschiedener Herkunft und unterschied-lichem Gebrauch, also ursprünglich in ihrer Form typografisch nicht aufeinander abgestimmt.

Die heutigen typografischen Anforderungen an eine Druckschrift verlangen jedoch eine Harmonisierung dieser beiden Schrifttypen zu einer einheitlichen Schriftfamilie. Demzufolge unterscheidet sich die neue Kursiv (Italic) der Basel Antiqua gestalterisch vom historischen Vorbild und ist als eine die Grundschrift ergänzende Variante typografisch auf diese abgestimmt.

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Mengelt Basel Antiqua Mengelt Basel Antiqua Italic Mengelt Basel Antiqua Bold Mengelt Basel Antiqua Bold Italic The Font Family of Mengelt Basel Antiqua As a classical book typeface, the font program of the new Mengelt Basel Antiqua is limited to the basic fonts Regular and Italic with ever a semi-bold variant Bold and Bold Italic.

Further variants as particularly light or extrabold, condensed or expanded would not correspond stylistically to this type style. However, the fonts were supplemented by the Greek and Cyrillic alphabets. Connected with the appropriate accent and special characters, it is equipped for their application in up to 89 languages (see type specimens on the continuation pages).

Die Schriftfamilie der Mengelt Basel Antiqua Als eine klassische Buchschrift beschr채nkt sich das Ausbauprogramm der neuen Mengelt Basel Antiqua auf die Grundschnitte Regular und Italic mit je einer halbfetten Variante Bold und Bold Italic.

Weitere Varianten, wie besonders leicht oder fett, schmal oder breit, w체rden diesem Schrifttypus stilistisch nicht entsprechen.

Hingegen wurde die Schrift durch das griechische und kyrillische Alphabet erg채nzt. Verbunden mit den entsprechenden Akzentund Sonderzeichen ist sie damit f체r ihre Anwendung in bis zu 89 Sprachen ausgestattet (siehe dazu die Schriftproben auf den Folgeseiten).

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Mengelt Basel Antiqua Regular (w1g) A BCDEFGHIJK L M NOPQR S T U V W X Y Z abcde fgh ijk lm nopqr st uv w x y z SMALL C APiTALs & figures !“&‘(/ )*+,-.0123456789 # 0123456789:;<=>? @[ \]^_{|}~¡$¢£ ¤¥ €℅ ‹¦›§©ªº«¬­® ¯°±´µ¶·¸»¿ ℓ№™Ω℮ ∂∆∏∑− ∕∙√∞∫×÷≈≠≤≥◊�‘’‚“”„†‡‽ ¼ ½ ¾%‰ 0 1 2 3 4 5 6 7 8 90 1 2 3 4 5 6 7 8 9 …• À Á Â Ã Ä Å Æ ÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙ Ú Û Ü Ý Þ ß à á â ã ä å æçèéêë ì í î ïðñòóôõöøùúûüýþÿ Ā ā Ă ă Ą ąĆ ć Ĉ ĉ Ċ ċ Č č Ďď ĐđĒ ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ Ğ ğ Ġ ġ Ģ ģĤ ĥĦ ħĨĩ ĪīĬĭ ĮįİıIJijĴĵĶ ķ ĸ Ĺ ĺĻ ļĽ ľ Ŀ ŀŁ ł Ńń Ņņ Ňň ʼn ŊŋŌōŎŏŐőŒ œ Ŕ ŕŖ ŗŘ ř Ś ś Ŝ ŝ Ş ş Š šŢţ Ťť Ŧŧ Ũ ŪūŬŭŮůŰűŲųŴŵŶŷŸ Ź ź Ż ż Ž žƒ Ș șȚț ȷfffifl ffl ẀẁẂẃẄẅ ỳ Ά Έ Ή ΊΌ Ύ Ώΐ Α ΒΓΔΕ ΖΗΘΙΚ Λ Μ ΝΞΟΠΡΣ Τ ΥΦ Χ ΨΩΪ Ϋά έ ήίΰαβγδε ζηθ ικ λμνξο πρςσ τ υφ χ ψω ϊϋόύ ώ ϐ ϑϕ ϖ ϚϞ Ϡ ϰ᾽ι῎῾ʹ͵;΄΅ ЀЁ ЂЃ Є ЅІЇЈЉЊЋЌ Ѝ Ў Џ А БВГДЕ Ж ЗИЙК Л МНОПРС Т УФХ ЦЧШЩЪЫЬ ЭЮЯ абвг де ж зий к л м ноп р с т уфх ц ч ш щ ъыь эюя ѐ ё ђѓ є ѕ і їјљњћ ќ ѝ ў џҐґ 16

The Renaissance was a cultural movement that profoundly affected European intellectual life in the early modern period. Beginning in Italy, and spreading to the rest of Europe by the 16th century, its influence was felt in literature, philosophy, art, music, politics, science, religion, and other aspects of intellectual inquiry. Renaissance scholars employed the humanist method in study, and searched for realism and human emotion in art. Με τον όρο Αναγεννησιακή τέχνη αναφερόμαστε στην ιτεχνική παραγωγή κατά την ιστορική περίοδο της Ανα γέννησης. Ένα από τα κύρια χαρακτηριστικά της ήταν η ανανέωση των θεμάτων και της αισθητικής στην Ευρ-ώπη. Η καλλιτεχνική παραγωγή την περίοδο αυτή είναι δύσκολο να οριοθετηθεί χρονικά, ωστόσο θεωρούμε πως ξεκίνησε στην Ιταλία τον 15ο αιώνα και διαδόθηκε στην υπόλοιπη Ευρώπη, με διαφορετικούς όμως ρυθμούς και σε διαφορετικό βαθμό ανάλογα με την γεωγραφική περιοχή. Паспяхова развівалася архітэктура, што знайшло адлюст раванне ў будаўніцтве шматлікіх ратуш, храмаў, палацаў, шпіталяў, дамоў цэхавых брацтваў і інш. Спачатку рэнеса нсныя рысы спалучаліся з элементамі готыкі. У 16 ст. сярэдзіне 17 ст. рысы Адраджэння праявіліся і ў выяўленчым мастацтве, якое спалучала заходнееўрапей скія традыц ыі, асаблівасці візантыйскай мастацкай спадчыны і адметныя рысы тво рчасці мясцовых мастакоў.

Type specimens and glyph set of the fonts with Latin, Greek and Cyrillic alphabet, accents and special characters, licensed

by Monotype, which take off up to 89 different languages.

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Mengelt Basel Antiqua Italic (w1g) A BCDEF GHIJK L MNOP QR ST U V W X Y Z abcd e fghijklmnop qr st uv w x y z SMALL C APiTALs & figures !“&‘(/ )*+,-.0123456789# 0123456789:;<=>? @[ \]^ _{ | }~¡$¢£¤¥€℅‹¦›§©ª º«¬­® ¯°±´µ¶·¸»¿ ℓ№™Ω℮∂∆∏∑− ∕∙√∞∫×÷≈ ≠≤≥◊�‘’‚“”„†‡‽ ¼½ ¾%‰0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 …• À Á Â Ã Ä Å ÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙ Ú Û Ü Ý Þßà á â ã ä å æ çèéêë ìíîïð ñòóôõöøùúûüýþ ÿ Ā ā Ă ă Ą ąĆ ć Ĉ ĉ Ċ ċ Č čĎď Đđ Ē ēĔ ĕĖ ėĘ ęĚ ě Ĝĝ Ğğ Ġġ ĢģĤĥĦ ħĨĩĪīĬĭĮįİıIJijĴĵĶķĸĹĺĻļ Ľľ Ŀŀ Ł ł Ńń Ņņ Ňňʼn ŊŋŌōŎŏŐőŒ œŔ ŕŖ ŗŘ řŚśŜŝŞşŠšŢ ţŤ ť Ŧ ŧ Ũ ŪūŬŭŮůŰűŲųŴŵŶŷŸ Ź ź Ż ż Ž žƒȘșȚ ț ȷ fffifl ffl ẀẁẂẃẄẅ ỳ ΆΈ Ή Ί Ό Ύ Ώΐ Α ΒΓΔΕ ΖΗΘΙΚ Λ ΜΝΞΟΠΡΣ Τ ΥΦ Χ ΨΩΪ Ϋά έ ήίΰ αβγδ ε ζηθ ικ λμνξο πρςσ τ υ φχ ψ ω ϊϋόύώϐ ϑϕϖ ϚϞϠ ϰ᾽ι῎῾ʹ͵;΄΅ ЀЁ ЂЃЄ ЅІЇЈЉЊЋЌ Ѝ Ў Џ А БВГДЕ Ж ЗИЙК Л МНОПР С Т УФХ ЦЧШЩЪЫЬЭЮЯ а бв г д е ж зи йк л мн о пр с туф х цчшщъыь эюя ѐё ђ ѓє ѕіїјљњћќ ѝў џҐґ 18

Als Kernzeitraum der Renaissance wird das 15. und 16.

Jahrhundert angesehen. Das Ende der Epoche vollzieht sich im beginnenden 17. Jahrhundert in Italien durch den neuen Stil des Barock. Im Norden Europas kam die Renaissance später an und wurde auch erst später von der Kunstepoche des Barocks abgelöst. Im protestantischen Nordeuropa wird der Epochenbegriff der Renaissance von dem der Reformation überlagert. Bei Künstlern der Renaissance denkt man in an Italiener wie Leonardo da Vinci, Tizian und Donatello sowie an den Deutschen Albrecht Dürer.

Με τον όρο Αναγεννησιακή τέχνη αναφερόμαστε στην ιτεχνική παραγωγή κατά την ιστορική περίοδο της Ανα γέννησης. Ένα από τα κύρια χαρακτηριστικά της ήταν η ανανέωση των θεμάτων και της αισθητικής στην Ευρ-ώπη. Η καλλιτεχνική παραγωγή την περίοδο αυτή είναι δύσκολο να οριοθετηθεί χρονικά, ωστόσο θεωρούμε πως ξεκίνησε στην Ιταλία τον 15ο αιώνα και διαδόθηκε στην υπόλοιπη Ευρώπη, με διαφορετικούς όμως ρυθμούς και σε διαφορετικό βαθμό ανάλογα με την γεωγραφική περιοχή. Паспяхова развівалася архітэктура, што знай шло адлюст раванне ў будаўніцтве шматлікіх ратуш,храмаў, палацаў, шпіталяў, дамоў цэхавых брацтваў і інш. Спачатку рэнеса нсныя рысы спалучаліся з элементамі готыкі. У 16 ст. сярэдзіне 17 ст. рысы Адраджэння праявіліся і ў выяўленчым мастацтве, якое спалучала заходнееўрапей скія традыц ыі, асабл івасці візантыйскай мастацкай спадчыны і адметныя рысы тво рчасці мясцовых мастакоў.

Figurenverzeichnis und Satzproben der durch Monotype lizenzierten Fonts mit lateinischem, griechischem und kyrillischem Alphabet, Akzent- und Sonderzeichen, die bis zu 89 verschiedene Sprachen abdecken.

19

The New English Edition of Vesalius‘ «On the Fabric of the Human Body» by Karger Publishers, Basel The historical editions of «De humani corporis fabrica» by Vesalius were published in 1543 and 1555 by Johannes Oporinus in Basel, which placed great value in the quality of typesetting and printing. Both editions belong to one of the first scientific works ever published that was strongly influenced by the typographic handling of both text and illustrations.

In the new English edition, these historical principles have been newly conceptualized and used to produce a modern typography which optimally integrates historical factors and elements such as the head letters, the illustrations (woodcuts), and the characteristics of the original typefaces.

The new English translation, which is based on both Latin editions, has been updated with a multitude of scientific accompanying texts and the use of modern medical terminology.

The complexity of the content demands a typographic adaptation that can clearly differentiate between font styles as well as elaborate on them. The marriage of the new typeface Mengelt Basel Antiqua with the modern sans-serif Sinova Pro facilitates the new appearance on the one hand, while on the other hand guides the reader through the different reading levels of the complex structure of the texts.

The book is composed of approx. 1500 pp. with 258 partially large sized illustrations: See following examples of pages (reduced size) with titles, text, legends, inital letters, and illustrations.

Die neue englische Ausgabe von Vesalius «On the Fabric of the Human Body», Karger Verlag, Basel Die historischen Ausgaben von Vesalius «De humani corporis fabrica», die 1543 und 1555 in der Basler Offizin von Johannes Oporinus in beindruckender Qualität gesetzt und gedruckt wurden, gehören zu den ersten wissenschaftlichen Publikationen, die in der Folge den typografischen Umgang mit Text und Bild massgebend geprägt haben.

In der englischen Neuausgabe wurden diese historischen Vorlagen in ein modernes, zeitgemässes typografisches Konzept umgesetzt, das die historischen Gegebenheiten und Elemente wie die Initialen, die Illustrationen (Holzschnitte) und die Charakteristik der originalen Schrifttypen optimal integriert.

Die auf beiden lateinischen Ausgaben basierende englische Übersetzung wurde durch zahlreiche wissenschaftliche Begleittexte und moderne medizinische Termini ergänzt. Diese inhaltliche Komplexität forderte typografisch den Einsatz von sich sowohl klar differenzierenden als auch ergänzenden Schrifttypen. Die Verbindung der neuen Mengelt Basel Antiqua mit der der modernen serifenlosen Sinova Pro prägt einerseits das neue typografische Erscheinungsbild und hilft andererseits die verschiedenen LeseEbenen zu schaffen, um durch die komplexen Texte zu führen.

Das Buch umfasst rund 1500 Seiten mit 258 zum Teil grossformatigen Illustrationen: Siehe nachfolgende Beispielseiten mit Titelei, Text, Legenden, Initialen und Illustrationen.

20

CHAPTER CHAPTE

BOO

CHAPTER

BOOK

T H E F A B RTI CH E F A B R I C OF THE HO UM N EB H OU DM Y AN BODY F A TH

1 7 1 177 BOOK

THE FABRIC OF THE HUMAN BODY

73

73

73

On the Jugal BOne, tJh Bg O Rn se O na a l an BleOsBnOe ,e e Otn nhdte h eueg Ju , mBling tecn n a nadnRtdOhctek Ou sReROsepR spei m Bm l iBnlg hBeO BnO s eg ing a RaORc O k cOkuOt u cR ORp O p ipnpg tc ing

33

No figure is prefixed to this chapter, because the jugal bone, marked V considered a process [p. temporalis] of that bone [os zygo­ and X,1 was in the third and fifth figures of the preceding chapter; maticum] which forms the entire outside corner of the eye likewise, its suture [s. temporozygomatica] was marked Z in the third 33 socket [orbita] and will be counted the first of the bones of andto in the fifth.

The bonesthe that resemble a rock outcropping, No figure isfigure prefixed this chapter, because jugal bone, marked V marked No figure isY prefixed to this chapter, because the jugal bone, V considered a processa[p. temporalis] of that bone [os bone zygo­[os zygo­ considered process [p. temporalis] of that the upper maxilla. accordingly, the jugal bone does not callin petrous,2 are inof the fifth figure ofchapter; the and X,1 waswhich in the third and figures of shown the preceding chapter; and X,1we was thefifth third andalso fifth figures the preceding maticum]maticum] which forms theforms entirethe outside the eyeof the eye which entirecorner outsideofcorner chapter whole area where c, m, m,Z m, m, m, m, k,3 likewise, itspreceding suture [s.its temporozygomatica] was marked Zc, inmarked them, third likewise, suturein [s.the temporozygomatica] was in the third have its own ends and is nothing but a region of two pro­ 33 socket [orbita] will be first of bones of bones of socketand [orbita] andcounted will be the counted thethe first of the and letters occur in that the base ofthat thea skull. figure and Y in such theand fifth.

The bones resemble rock outcropping, figure Y in the fifth.

The bones resemble a rock outcropping,

cesses joined to each other by a suture (Z in fig. 3, ch. 6)

the upperthemaxilla. accordingly, the jugalthe bone does notdoes not upper maxilla. accordingly, jugal bone which we call petrous,2 are also shown in the fifth figure of the which we call petrous,2 are also shown in the fifth figure of the [sutura temporozygomatica]. preceding chapter in the wholeinarea where area c, c, where m, m, m, m,m, m,m, m,m, m,m, k,3m, m, have preceding chapter the whole c, c, m, k,3 its own andends is nothing a region two pro­ haveends its own and is but nothing but of a region of two pro­ and such letters occur in theoccur base in of the the base skull.of the skull. and such letters cesses joined each other by other a suture in fig. 3, ch.fig. 3, 6) ch. 6) cessestojoined to each by a(Zsuture (Z in t[sutura he use of t he j ug a l boNe [sutura temporozygomatica]. temporozygomatica].

Na m e s a r e a s sigNed to certa iN a r e a s of boNe a s if t he y the jugal bone has no marrow, being solid, hard, and as t he use ofuse awas l jboNe t he ofj ug tithe ug a lfor boNe w er e eN t ir ely sepa r at e rugged ast he a stone. fitting it to be constructed in Na m e sNa ar to mee sa sasigNed r e a s sigNed to this way (D, then Γ and later Δ in the 4th table of muscles)5 certa iN a r eiN a saof boNe s if tahe y t he y the jugalthe bone hasbone no marrow, being solid, hard, andhard, as and as certa rea s of a boNe s if jugal has no marrow, being solid, ERTAIN of the remaining bones of the because it [arcus zygomaticus] had to be placed in front of w er e eN t ir e r at e rugged asrugged a stone. fitting forfitting it to be in w er e ely eN t sepa ir elyr at sepa asita was stone. it was forconstructed it to be constructed in body that lack their own edges and the temporal muscle like a cover; it is convex on the outside, this way (D, and later Δ inlater the 4th of muscles)5 thisthen way Γ(D, then Γ and Δ intable the 4th table of muscles)5 boundaries are described by profes­ concave in the inside, very wisely placed opposite that because [arcus zygomaticus] had to behad placed inplaced front of ERTAIN ofERTAIN the remaining bones of bones the of it [arcus zygomaticus] to be in front of of the remaining the itbecause sors of dissection no differently than muscle.6 temporal muscle like a cover; convex the outside, body thatbody lackthat theirlack own edges andedgestheand the temporal muscle likeitaiscover; it isonconvex on the outside, their own if they were separate bones, and are concave in the inside, wisely that boundaries are described by profes­ concave in thevery inside, veryplaced wiselyopposite placed opposite that boundaries are described by profes­ mentioned with the others among the how Nat u r e m a de prov isioN f or t he sors of dissection no differently than muscle.6 sors of dissection no differently than muscle.6 number of bones. to this class belongs the bone named os t e m p or a l muscl e s if they were separate bones, and are and are if they were separate bones, iugale by the latins and ζύγωμα by the greeks because both mentioned with the others among mentioned with the othersthe among the Nat how u rNat e was mu anot de prov orbulwark, t he how r e atm deisioN prov f or and t he bones (there is one on each side) are compared by experts yet Nature alla content withfisioN this to number of bones. to this class belongs the bone named os number of bones. to this class belongs the bone named os p or t e m a l muscl e s t e m p or a l muscl e s in anatomy to the yokes of cattle or horses.4 a great degree hid the temporal muscle among the other iugale by iugale the latins and ζύγωμα the greeks by the latins andby ζύγωμα by thebecause greeksboth because both bones of the head, carving a hollow [fossa temporalis] in bones (there is one oniseach are side) compared by experts yet Nature not atwas all not content thiswith bulwark, and to and to bones (there one side) on each are compared by experts yetwas Nature at allwith content this bulwark, the bones highly suitable for the reception of a muscle and tinhe j ug atol the boNe [a rc usorzhorses.4 yg om at ic us] in anatomy to the yokes of cattle a great degree the temporal muscle among otherthe other anatomy yokes or of horses.4 cattle a greathid degree hid the temporal musclethe among hedging it about on every side by bulges and promontories bones of bones the head, carving hollow a[fossa temporalis] in of the head, acarving hollow [fossa temporalis] in the jugal bone – or rather the place on the skull identified of neighboring parts. very deservedly did she construct the bonesthe highly suitable the reception of a muscle bones highlyfor suitable for the reception of aand muscle and t he j ug a l boNe [a rc us z yg om at ic us] t he j ug a l boNe [a rc us z yg om at ic us] by this name – consists of two bony processes meeting this, because when the muscles of the temples are abused, hedging ithedging about on every on sideevery by bulges and promontories it about side by bulges and promontories seach other at an oblique suture. the posterior part of it (X they bring on convulsions, fevers, unconsciousness, and of neighboring parts. very deservedly did she construct the jugalthe bone – orbone rather therather place the on the identified of neighboring parts. very deservedly did she construct jugal – or placeskull on the skull identified in figs. 3 and 5, ch. 6) is a process [p. zygomaticus] of the madness, since they are near the beginning of the nerves this, because thewhen muscles the temples abused, by this name – consists two bony processes meeting meeting this, when because the of muscles of the are temples are abused, by this name – of consists of two bony processes temporal bone; the anterior (V in figs. 3 and 5, ch. 6) is [nn. craniales] and only bone separates them from the onbring convulsions, fevers, unconsciousness, and seach other at an oblique posterior part of it part (X ofthey they on convulsions, fevers, unconsciousness, and seach other at ansuture. obliquethe suture. the posterior it (Xbring madness, since theysince are near the near beginning of the nerves in figs. 3 in and 5, ch.

6) 5, is ch. a process zygomaticus] of the of they are the beginning of the nerves figs.

3 and 6) is a[p. process [p. zygomaticus] the madness, and onlyand bone separates them from thefrom the temporaltemporal bone; thebone; anterior in figs.

5, 3ch. [nn. craniales] only bone separates them the (V anterior (V3inand figs. and6) 5,is ch.[nn.

6) iscraniales]

Bk. 1 Ch. 6

Bk. 1 Ch. 6 Fig. 3 Bk. 1 Ch. 6

Bk. 1 Ch. 6

Bk. 1 Ch. 6 Fig. 5 Bk. 1 Ch. 6

Bk. 2 Table

Bk. 2 Table 4

Bk. 2 Table

Bk. 5 Ch. 15

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

Bk. 5 Ch. 15

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

Bk. 5 Ch. 15

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

Bk. 5 Ch. 15

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

Bk. 5 Ch. 15

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

Bk. 5 Ch. 15

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

Bk. 5 Ch. 15

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

Bk. 5 Ch. 15

call the cheekbone is without articulis et Galeni in eum commenThe zygomatic arch; V is the tem­ 6 Cf. Galen, De usu partium 3.851.13 marrow, solid, and fit by its tarii 18a.426.9ff.: “This slender poral process of the zygomatic (tr. May, 1968, p. 508): “Indeed, this hardness for repelling injuries so bone, which attaches the upper bone, and X is the zygomatic arch (for that is what anatomists as to make it a suitable bulwark jaw to the head, is called zygōma process of the temporal bone. call it) is not just ordinary bone but call the cheekbone without is without articulis et Galeni in eum commenThe zygomatic arch; V is the arch; tem­ V is the tem­ 6 Cf. Galen, usu partium callthe theistemporal cheekbone articulis et Galeni in eum commen01 The zygomatic 6 De Cf. De3.851.13 usu partium 3.851.13 for muscle, convex by the anatomists because Hippoc­ has Galen, no marrow and is dense and 02 Lapidea; as usual, Vesalius prefers marrow, solid, and fit by its and fit by its slender poral processporal of the zygomatic (tr. May, 1968,(tr. p. 508):1968, “Indeed, this “Indeed, this marrow, solid, tarii“This 18a.426.9ff.: slender process the zygomatic tarii 18a.426.9ff.: p. Nature 508): on the outside but concave on the rates himself said“This it yoked the two hardMay, as rock; for has con­ Latin to Greek of terminology. hardness for hardness repelling injuries so attaches the upper bone, and X is the zygomatic arch (for thatarch is what anatomists bone, which attaches the upper bone, and X is the zygomatic bone, which bones, that is what anatomists inside.” for repelling injuries so lying close to them like a trived(for to establish in front of these 03 See the legend to fig. 5 of Ch. 6. to make it as a suitable zygōma process of the temporal bone. just ordinary bone but to makebulwark it a suitable bulwark jawistocalled the head, is called zygōmacall it) is not muscles process of the temporal bone. jaw to the head, call it) isanot just ordinary bone as but yoke.” rampart as insensitive as 04 iugum, -ī n., Gk. ζυγόν, τό = “yoke,” muscle, convex by the anatomists Hippoc­ has no marrow dense and is dense andfor the temporal Lapidea; 02 as usual, Vesalius prefers for the temporal muscle, convex by thebecause anatomists because Hippoc­ hasand no is marrow Lapidea; as usual, possible.”

Vesalius rewrote the sec­ hence ζύγωμα for Vesalius the arcusprefers zygo05 d is the arcus zygomaticus, Γ the on the outside said ithimself yoked said the two hard as rock; hard for Nature has con­ Latin to Greek terminology. onbut theconcave outside on butthe concave on the rates it yoked two asthe rock; for has con­ Latin to The Greek terminology.is rates himselfmusculus tion on use ofNature the zygomatic maticus. nomenclature temporalis, Δ the the m. masinside.” to themclose like ato them like atrived to establish intofront of these See the legend tothe fig. 5 of Ch.to6.fig. 5 of Ch. 6. bones, lying close inside.” bones, trivedas establish in front these 03 See legend bone follows in the 1555 of edition: Hippocratic (De articulis 30.6). See seter in lying the 4th table of muscles, yoke.” muscles a rampart as ainsensitive asinsensitive as iugum, -ī04 n., Gk. ζυγόν ,n., τόGk. = “yoke,” yoke.” muscles rampart as iugum, ζυγόν , τό = de “yoke,” “Each process or area which we Galen, In-ī Hippocratis librum Bk. II. rewrote the sec­ hence ζύγωμα for the arcus for zygod is the arcus Γ the possible.”

Vesalius rewrote the sec­ hence ζύγωμα the arcus05zygo05 dzygomaticus, is the arcus zygomaticus, Γ thepossible.” Vesalius tion on the use ofon thethe zygomatic maticus. The nomenclature is the m. mas-Δ the m. mastion use of the zygomatic maticus. The nomenclature is musculus temporalis, musculusΔtemporalis, in as thefollows 1555 edition: Hippocratic (De articulis 30.6).

See seter in the 4th table of muscles, bone in the 1555 edition: Hippocratic (De articulis 30.6). See seter in the 4th table of muscles,bone as follows “Each process“Each or area whichorwe Galen, In Hippocratis de process area which we Galen, Inlibrum Hippocratis librum de Bk. II. Bk. II. 01

01

02 03 04

Bk. 5 Ch. 15 Fig. 25 Bk. 5 Ch. 15

21

112 112

th E Es M EM OO N Nt h E EB B OO NN E ER R Es BB L ILNI N gg 1 1 th E KU U LO th E Eg g RR EEK pp s IsLI O NN ��

K E YFITO FIEGU ED S ACN H ATREAC E RTS SE T A, B, CA,1 B,Larger C 1 Larger and middle [corpus] of h 1, 2 hApex 1, 2 of Apex the lower side, which is attached K E Y TO GU R S ARN HD A RCAC R S TSE and middle ossicleossicle [corpus] of theof lower side, which is attached F OH R TH the hyoid its anterior the process the laryngeal cartilage F O R TH E R EH E R E the hyoid bone, bone, visiblevisible on its on anterior to theto process of theof laryngeal cartilage B indicate the protuberant that resembles a shield superius side. Aside. andABand indicate the protuberant that resembles a shield [cornu[cornu superius this surface.

In between cartilaginis thyroideae]. thefigure first figure the present chapter regionregion of thisofsurface.

In between these these cartilaginis thyroideae]. the first of theof present chapter repre-reprecharacters appears the particular the anterior the [corpus bone [corpus 1, 2 Upper sides [cornua minora] the hycharacters appears the particular I, K 1, 2I, KUpper sents sents the anterior face offace theof bone sides [cornua minora] of theof hyossis hyoidei] resembling the letter oid bone, considerably thinner and more υ [Greek *tubercle . tubercle this region, marked ossis hyoidei] resembling the letter oid bone, considerably thinner and more υ [Greek up- up- *. of thisofregion, marked *. *. smoothly rounded than the lower together with its lesser or more C indicates the transversely elongated smoothly rounded than the lower ones. ones. silon],silon], together with its lesser or more C indicates the transversely elongated L, 1M,Three N 1 Three elevated sides [cornua minora] and the ossicles depression discernible the superior ossicles, very often3 to L, M, N elevated sides [cornua minora] and the ossicles depression discernible in thein superior ossicles, very often3 joinedjoined to are connected to them the prothis middle ossicle. the upper sides [cornua minora]. whichwhich are connected to them as far as as far theas propart ofpart thisofmiddle ossicle. the upper sides [cornua minora]. the temporal that are shaped in D 2 DPosterior Besides theplate fifth of plate the muscles at 2 Posterior the larger cessescesses of theof temporal bonesbones that are shaped in Besides the fifth theof muscles at side ofside theof larger ossicleossicle the fashion of a stylus [processus styloidei]. the letter L, several illustrations of [corpus], depressed and concave. the fashion of a stylus [processus styloidei]. the letter L, several earlierearlier illustrations of [corpus], depressed and concave. the second the posterior the twelfth chapter the second 1, 2 Lower sides [cornua majora] the hythe second figurefigure showsshows the posterior regionregion E, F 1, E, the twelfth chapter of theof second book4book4 2 FLower sides [cornua majora] of theof hythe resembling bone resembling an υ, along at C, A,and B, C,Dand D further represent oid bone, with the middle with the of theof bone an υ, along at A, B, further represent the the oid bone, whichwhich with the middle with the represent a figure elevated ribs [cornua]; but hyoid hyoid bone. bone. ossicleossicle represent a figure like anlike more more elevated ribs [cornua]; but for thefor the υ. an υ. moment we not have not drawn ossicles 1, 2 of Joint the lower side [cornu moment we have drawn those those ossicles g 1, 2 gJoint theof lower side [cornu majus]majus] with with the processes that resemble a the broader and larger the hywhichwhich extendextend to theto processes that resemble a the broader and larger ossicleossicle of theof hyand are drawn the previous figure.2 oid bone. stylusstylus and are drawn in thein previous figure.2 oid bone.

R SGU T R FIEGU R E FI R S TFIFI

01

02

An earlier this chapter An01earlier versionversion of this of chapter was published in Medical was published in Medical HistoryHistory 37.1 (1993), pp. 3–36.

37.1 (1993), pp. 3–36.

02 Neither offigures these figures illustrates a Neither of these illustrates a typically hyoid–bone –a typically humanhuman hyoid bone a departure for awhich book which notablenotable departure for a book stresses as opposed stresses humanhuman as opposed to ani- to animal anatomy. left bone hyoid bone mal anatomy.

The leftThe hyoid above has (fig. 1) has a canine shownshown above (fig. 1) a canine in theof chain of featurefeature in the chain (K,N) L, that M, N) that narrownarrow ossiclesossicles (K, L, M, in the to the styloid extendextend in the dog todog the styloid bone the human, this connection bone (in the (in human, this connection

made the stylohyoid ligament). is madeis by the by stylohyoid ligament).

Thehyoid right bone hyoid(fig. 2) bone (fig. 2) The right repre- represents the posterior sents the posterior aspect aspect of the of the samewith boneL,with M, N removed. same bone M, NL,removed.

Its horns lesser (I, horns (I, K) appear Its lesser K) appear nearly nearly thelength same length as the greater the same as the greater horns (E, F), whereas in humans horns (E, F), whereas in humans the the lesser have hornsonly havea only a fraction of lesser horns fraction of theand mass and length of the greater, the mass length of the greater, are altogether different in and areand altogether different in 03 Vesalius is described as using shape. shape.

Vesalius is described as using “the larynx ofand an ox of some “the larynx of an ox of and some other animals” in aanatomy 1540 anatomy other animals” in a 1540

D R FIEGU R E SE COSE N DCOFINGU

at Bologna “because, he lecturelecture at Bologna “because, he in the hanged [human] said, insaid, the hanged [human] sub- subjects we cannot the larynxes, for jects we cannot see thesee larynxes, for they are destroyed the noose, they are destroyed by the by noose, butare they are however quite different but they however quite different 33animals]” man in (Eriksson, [in man[inand in and animals]” (Eriksson, 285).

The illustrations 1959, p.1959, 285).p.The illustrations in this in this to human blend human chapterchapter appearappear to blend and and anatomy. animalanimal anatomy.

03 ut Lat. ut plurimum, perhaps Lat. plurimum, perhaps “more “more oftennot”; thansee not”; see preceding often than preceding note. note.

04 05

22

Possibly, these are nontypical, Possibly, these are nontypical, ossi- ossified portions of ligamentum fied portions of ligamentum stylo- stylohyoideum; more this likely, this figure hyoideum; more likely, figure features of the canine reflectsreflects features of the canine hyoid hyoid bone and apparatus, in which bone and apparatus, in which the the cornu minus is connected cornu minus is connected to the to the pars tympanica and vagina pars tympanica and vagina proces-processus styloidei by a of series of ossicles sus styloidei by a series ossicles (L = epihyoid, (L = epihyoid, M = stylohyoid, N = tympanohyoid), M = stylohyoid, N = tympanohyoid), the ligamentum stylohyoiunlike unlike the ligamentum stylohyoideum of the human. deum of the human.

Aninerror both editions; these ilAn04error bothineditions; these illustrations in Ch. lustrations appearappear in Ch. 21, Bk. 21, II. Bk. II. A fanciful compound unattested in A 05 fanciful compound unattested in LSJ TLG or the TLG medical LSJ or the medical canon,canon, com- com-

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CHAPTER

CHAPTER

1 1 1313 BOOK

BOOK

T H E F A B TRHI CE F A B R I C OU FM TH E H OF THE H AN BU OM D YA N B O D Y

113

113

L oc a nd m etshe of t he L oc at ionataion nd na m ena s of h yoid h yoid bonebone

56

terior surface, it is concave. the anterior, it is indented terior surface, it is concave. on the on anterior, it is indented on in topanaselongated in an elongated depression theisshape is on top as depression becausebecause the shape for it, and because of the muscles and ligaments suitablesuitable for it, and because of the muscles and ligaments it. for thedepression upper depression are implanted theprominent most prominent attachedattached to it. fortointo theinto upper are implanted LACED LACED BEFOREBEFORE the most third andmuscles fourth muscles in table the 4th of muscles) of the islarynx is taken a bonecoltaken the col-thirdthe and fourth (R in the(R4th of table muscles) part of part the larynx a bone [mm. mylohyoidei] to this bone; for the sake ofbut unity, on the pro[mm. mylohyoidei] peculiarpeculiar to this bone; lectivelylectively for the sake of unity, con-but conon the proof different many different tuberance visible this location, at thewhich sides are which are structedstructed of many ossicles;ossicles; tuberance visible in this in location, at the sides 56 someit call it ὑψιλοειδές5 from somewhat the somewhat impressed in the area itwhere it the swells, some call ὑψιλοειδές5 from the impressed in the area where swells, firstthe first of theυ,letter otherssucmore two suc- muscles two muscles [mm. sternohyoidei] this bone shape ofshape the letter othersυ,more [mm. sternohyoidei] peculiarpeculiar to this to bone those without experience in dissection, make their insertion in the 4thoftable of muscles; the cinctly cinctly ὑοειδές;ὑοειδές; those without experience in dissection, make their insertion (S, T in(S, theT4th table muscles; the misled by thishave term, have translated it inasGalen as “the bone other muscles of this are Q [musculus stylohyoideus] misled by this term, translated it in Galen “the bone other muscles of this bone arebone Q [musculus stylohyoideus] resembling pig.”6 bone this isbone is named elsewhere and V [musculus omohyoideus]). from the hollow resembling a pig.”6a this named elsewhere and V [musculus omohyoideus]). from the hollow of the of the λαμβδοειδές [“lambda-shaped”] from of theposterior let- posterior first two muscles [radix linguae] λαμβδοειδές [“lambda-shaped”] from the lookthe of look the letside, theside, firstthe two muscles [radix linguae] that that ter Λ; translators by thishave name have become move the tongue have their principal originin(D D ter Λ; translators deceiveddeceived by this name become accus- accusmove the tongue have their principal origin (D D figs. 1in figs. 1 tomed to itrender it lambda-like as “the lambda-like suture of the head” and19, 2, bk. ch.ii).

19, moreover, bk. ii). moreover, theishyoid is convex tomed to render as “the suture of the head” and 2, ch. becausebecause the hyoid convex D 3inand figs.4,3ch. and6;4,Bch. 6; B3rd in skeleton). the 3rd skeleton). forthe outside on the outside but hollow inside, the muscles also con(C, D in(C, figs. in the but i forbut ion but hollow inside, the muscles are alsoare conpart have recently errors of this sorta from a veniently placed farther from of injuries my partmy have recently removedremoved errors of this sort from veniently placed farther from the paththe of path injuries comingcoming Galenboth which both italy and Germany published the outside. thisossicle larger [corpus ossicle [corpus ossis hyoidei], version version of Galenofwhich italy and Germany published from thefrom outside. this larger ossis hyoidei], Latin. herophilus7 is also havethis called this bone positioned above the larynx, be by found by in Latin.inherophilus7 is also said to said have to called bone positioned slightly slightly above the larynx, may bemay found παραστάτης [”companion”], it is located touch, but its sides [cornua] aremore a little morehidden. deeply hidden. παραστάτης [”companion”], perhapsperhaps becausebecause it is located touch, but its sides [cornua] are a little deeply to the tongue, or the larynx, or the jaws, just the this Withwider this ossicle, wider ossicle, two others next to next the tongue, or the larynx, or the jaws, just as in theas inWith two others [cornua[cornua minora,minora, organs serving generation he callsitems certain items παραστάτης cc. majora] are on united eachone side.11 one ofis these organs serving generation he calls certain παραστάτης cc. majora] are united eachon side.11 of these lower,is lower, κιρσοειδής, “the varicose companion” [i.e. spermatic thehigher. other higher. κιρσοειδής, “the varicose companion” [i.e. spermatic duct] duct] the other δ to ε in and παραστάτης (from δ(from to ε in figs.

22 figs. and 22 23, and bk. 23, V), bk. andV), παραστάτης ἀδενοειδής in thefigures), same figures), “the glandular ἀδενοειδής (ξ, B in (ξ, theBsame “the glandular com- comL oW ersside of htyoid he h yoid L oW er side of tshe bonebone panion.”8 moreover, there are who, somebecause who, because panion.”8 moreover, there are some it is it is in the throat, have itcalled it the φαρύγγετρον.9 theossicle lower [cornu ossicle majus] [cornu majus] is somewhat located located in the throat, have called the φαρύγγετρον.9 i thei lower is somewhat shorter shorter and and haveitmade it my practice throughout name this broader “the broader the[cornu upper minus] [cornu minus] (one is E, F in figs. have made my practice throughout to nametothis “the than thethan upper (one is E, F in figs. bone resembling υ,” orsuccinctly more succinctly “the hyoid.”1 and 2,1the andother 2, theI,other I, K), and is connected to nobone other bone bone resembling an υ,” oranmore “the hyoid.”

K), and is connected to no other (G 1inand figs.2)1of and of the middle, wider ossithan thethan sidethe (G side in figs. the2)middle, wider ossicle of the hyoid bone, to which it is firmly attached by carcle of the hyoid bone, to which it is firmly attached by carmeiddL e ose sicL of htyoid he h yoid m iddL os sicL of tehe bonebone tilagecartilaginous and cartilaginous a noteworthy tilage and ligamentligament over a over noteworthy end bone of this(Hbone (H in figs.2)1isand 2) is joined the human thisquite bonedifferently quite differently constructed breadth.breadth. the endthe of this in figs.

1 and joined the human has thishas bone constructed [ligamentum thyrohyoideum to the superior the quadrupeds which until have dissected,10 [ligamentum thyrohyoideum laterale]laterale] to the superior pro- prothan thethan quadrupeds which until now wenow havewe dissected,10 cess superius] [cornu superius] of the laryngeal that looks is the broadest ossicle of thebone hyoid(A,bone of the laryngeal cartilagecartilage that looks and it isand theitbroadest ossicle of the hyoid B, *(A, , C B, cess *, C [cornu like a [cartilago shield [cartilago thyroidea] B in figs. 4,3 and 4, D inconvex fig. 2), on convex on the outside and forjutting like for- a shield thyroidea] (A, B in(A,figs.

3 and in fig. 1,inDfig. 1, in fig. 2), the outside and jutting We call rightly thisossicle lower or ossicle side, together ward own protuberance; but or inside, orposon the posch. 38).ch.

We 38). rightly thiscall lower side, or together ward with itswith own its protuberance; but inside, on the

Bk. 1 Ch. 6 Fig.Bk. 3, 41 Ch. 6 F Bk. 1 Skeleton 3Bk. 1 Skeleto

Bk. 5 Fig. 22, 23Bk. 5 Fig. 22,

Bk. 1 Ch. 13 Fig.Bk. 1, 21 Ch. 13 F

Bk. 2 Table 4 Bk. 2 Table 4

Bk. Bk. 2 Ch. 19 Fig. 1, 2 Ch. 19

Bk.3,14 Ch. 38 Bk. 1 Ch. 38 Fig.

Bk.255 Ch. 15 Bk. 5 Ch. 15 Fig.

Bk.255 Ch. 15 Bk. 5 Ch. 15 Fig.

Bk.255 Ch. 15 Bk. 5 Ch. 15 Fig.

Bk.255 Ch. 15 Bk. 5 Ch. 15 Fig.

06

07

dissected humaniscadavers, is fre10 handwritten Vesalius’ handwritten comments on cadavers, frecomments on from υ ψιλόν “short u” and dissected human 09 reading A variant bined frombined υ ψιλόν “short u” and 09 A variant forreading φαρύγ-for φαρύγ- 10 Vesalius’ quently citedHis bycontriGalen. His contri- γεθρον, or γεθρον the 1555 edition delete this portion quently cited

by Galen. delete this portion -εἰδές “-like,” presumably , or larynx,by translated

by LSJthe 1555 edition -εἰδές “-like,” presumably because it because it larynx, translated LSJ butions to nomenclature of the sentence. are note- are note- as φάρυγξ ,as is shaped likeletter. the Greek , i.e. the “windpipe” or of the sentence. is shaped like the Greek An letter. An butions to nomenclature i.e.φάρυγξ the “windpipe” or use of visual 11 edition The 1555 edition adds: “We call their usefor oftheir visual adds: “We call additional element could be ὕψι , worthy for worthy “pharynx,” butsense not insugthe sense11sug-The 1555 additional element could be ὕψι “pharynx,” but not in the , comparisons.

The word παραthese the hyoid bone comparisons.

The word παραthese the sides ofthe thesides hyoidofbone “on high,” here, “pharynx“on high,” because it isbecause situatedit is situated gested here,gested “pharynxwithinAvicenna, in his generally means “compan-bone.” The word στάτηςmeans his chapter ’Onchapter ’On “companabove high the larynx, bone.”isThe word is Hippocratic (De with Avicenna, above the larynx, on thehigh neck.on the neck.στάτης generally Hippocratic (De Throat’.”(980–1037) Avicenna (980–1037) ion,” or “bystander,” and is applied anatome 1.1); is the Throat’.”the Avicenna and is applied is anatome see also 06 inBecause, in or Greek, hys or sus meansion,” or “bystander,” see also1.1); Galen, De Galen, De Because, Greek, hys sus means the twinducts spermatic ducts as welllibris propriis Arabianand physician spermatic as well physician philos- and philoslibris propriis 19.28.1, Pseudo- the Arabianthe “pig”;may butalso there also be a note to the twin to liber 19.28.1,liber Pseudo“pig”; but there bemay a note the hyoid boneas conceived as theGalen, Introductio opher whose Canon of Medicine conceived the opher whose Canon of Medicine Galen, Introductio of irony this false etymology as as the hyoidasbone seu medicusseu medicus of irony in this falsein etymology as to see the May, larynx; see May, 14.721.5, Aretaeus had been considered authoritative to the larynx; authoritative 14.721.5, Aretaeus (2ndDe cent. AD), Dehad been considered Galen’s description ofisthe larynx is companioncompanion (2nd cent. AD), Galen’s description of the larynx since 1100, in appearing in at least 60 at least 60 causis et signismorboacutorum morbo- since 1100, appearing based in part on pigSee anatomy. See 1968, p. 26. 1968, p. 26. causis et signis acutorum based in part on pig anatomy. or partial Latin editions 08 see ForGalen, whichDe seeusu Galen, complete orcomplete partial Latin editions 08 For which par-De usu par- rum 1.7.1–4,rum 1.7.1–4, 2.2.1.3, and Aëtius May, 2.2.1.3, and Aëtius May, 1968, p.

352,1968, n. 32.p. 352, n. 32. between 1500see and 1674; see Siraisi tium 4.190.3ff.

1968, p. 644). Amidenus (6th and 1674; Siraisi (May, 1968, (May, p. 644).

Amidenus (6thIatricorum cent. AD), Iatricorumbetween 1500 07 Herophilus of (4th–3rd Chalcedon (4th–3rd tium 4.190.3ff. cent. AD), Herophilus of Chalcedon (1987).

(1987). cent.

BC), the most of important of the liber 2.92.24.liber 2.92.24. cent. BC), the most important the

Bk.255 Ch. 15 Bk. 5 Ch. 15 Fig.

Greek anatomists in Alexandria who Greek anatomists in Alexandria who

23

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