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Paleopatologia e marker occupazionali dei reperti scheletrici rinvenuti nella Cappella di San Floriano, Rio di Pusteria (V-XVII sec.). Aspetti antropologici del femore.
No full textNel 1998, durante dei lavori di restauro della cappella di San Floriano a Rio di Pusteria sono stati trovati 30 m3 di reperti ossei disposti caoticamente e non in connessione anatomica risalenti al periodo che va dal V al XVII secolo. Le indagini antropologiche si sono concentrate sull’analisi degli 8484 elementi femorali ritrovati, ricostruendo le patologie, i marker occupazionali, la demografia e lo stile di vita e di salute della popolazione
Dal Gabinetto Patologico ad un Museo-Laboratorio di Anatomia Patologica
Full text linkThis thesis wants to call the attention to the long route made by the collections of pathological anatomy from the second half of the 1700’s until the beginnings of the 1900’s and today.
Padua has always been the world-wide centre of medicine. The necessity to preserve the anatomical preparations has kept pace with the prestige of the “Medical School. “His Anatomical Majesty” Giovanni Battista Morgagni (1682-1771) had planned an anatomical museum inside Palazzo del Bo, next to the anatomical theatre of Girolamo Fabrici D’Acquapendente, but this work was never finished.
The after Morgagni sees illustrious doctors like Caldani (1725-1813), Comparetti (1745-1801) and Fanzago (1764-1836). Only with this last one we have the first news about a pathological cabinet (1810), even if completely rudimental.
However, we must wait for Lodovico Brunetti (1813-1899) to have a real Museum of Pathological Anatomy (1870). He was the first professor of pathological anatomy in Padua, as well as the first director of the same Institute. During his direction major changes take place: the anatomical schools “in force of my persevering firmness had been transported from the hospital to Saint Mattia”, the anatomical theatre became, more and more, the essential moment of the anatomo-pathological research, the Museum is conceived like a formative and popular instrument.
Another great innovation introduced by Brunetti was the realization of many preparations with his personal method: the “tannizzazione”. This extraordinary technique is a process of conservation of the animals tissues that required the use of water to bleed the preparation (passing through the blood vessels), sulfuric ether to de-grease, tannic acid to “tannizzare” and compressed air to dry the whole preparation. Unfortunately, the tannizzazione did not have a continuation and remained unused, despite the prizes obtained in all Europe by Brunetti, who used to complain: “nobody of you follows me in my work”.
The teaching of Morgagni, Rokitansky, Virchow has evolved in the one of Koch and the research mostly concerns “the invisible”.
The history of the Museum of Pathological Anatomy is close to the one of the Institute of Pathological Anatomy of the University of Padua and in particular to the history of the Directors. Beginning exactly from Brunetti, carrying on with Augusto Bonome, Giovanni Cagnetto, up to professor Gaetano Thiene, their works and the interventions for the development of the Museum have been highlighted. The Museum is a place getting more and more modern where the collection and the preservation of the anatomo-pathological material is guaranteed, but in particular it represents a biological archives in which we can draw upon for study and scientific research. To allow and develop that, it is opportune to think of “a widespread” museum in the territory.Questo lavoro vuole richiamare il lungo percorso compiuto dalle collezioni di anatomia patologica a partire dalla seconda metà del Settecento fino agli inizi del Novecento e ai giorni nostri.
Padova è stata da sempre centro mondiale della medicina. Di pari passo col prestigio della “Scuola Medica” si è vista accrescere negli anni la necessità di poter conservare i preparati anatomici. Già “Sua Maestà Anatomica” Giovanni Battista Morgagni (1682-1771) aveva fatto progettare proprio un museo anatomico al Palazzo del Bo, di fianco al teatro anatomico di Girolamo Fabrici D’Acquapendente, ma tale opera non fu mai portata a termine.
Il dopo Morgagni vede illustri medici come Caldani (1725-1813), Comparetti (1745-1801) e Fanzago (1764-1836), però solo con quest’ultimo si hanno le prime notizie riguardanti un gabinetto patologico (1810), anche se del tutto rudimentale.
Bisogna aspettare però l’arrivo di Lodovico Brunetti (1813-1899) per avere un vero e proprio Museo anatomo-patologico (1870). Egli fu il primo cattedratico di anatomia patologica a Padova, nonché il primo direttore del medesimo Istituto. Durante la sua direzione ci furono i più significativi cambiamenti: le scuole anatomiche “in forza della mia perseverante fermezza vennero trasportate dall’ospitale in San Mattia”, il teatro anatomico divenne, sempre più, il momento essenziale della ricerca anatomo-patologica, il Museo concepito come strumento formativo e divulgativo.
Altra grande novità introdotta dal Brunetti fu la realizzazione di moltissimi preparati con una sua personalissima metodica: la tannizzazione. Questa straordinaria tecnica è un processo di conservazione dei tessuti animali che prevedeva l’utilizzo, passando attraverso i vasi sanguigni, di acqua per dissanguare il preparato, etere solforico per digrassarlo, acido tannico per tannizzarlo ed infine aria compressa per essiccare il tutto. La tannizzazione non ebbe più un seguito, rimanendo purtroppo inutilizzata, nonostante i premi ricevuti in tutta Europa dal Brunetti, che si lamentava: “nessuno di voi mi segue coll’opera. L’insegnamento del Morgagni, del Rokitansky, del Virchow si è trasformato in quello del Koch e le indagini si aggirano, pressoché esclusivamente, intorno agli invisibili”.
La storia del museo di anatomia patologica si colloca al fianco di quella dell’Istituto di Anatomia Patologica dell’Università di Padova ed in specifico con quella dei Direttori. Partendo appunto dal Brunetti, per continuare con Augusto Bonome, Giovanni Cagnetto, fino ad arrivare al prof. Gaetano Thiene, sono stati evidenziati i loro lavori e gli interventi fatti per lo sviluppo del Museo; luogo sempre più moderno dove vengono garantite la raccolta e la salvaguardia di materiale anatomo-patologico, ma in particolare rappresenta un archivio biologico in cui attingere per lo studio e la ricerca scientifica. Per permettere e sviluppare ciò, è opportuno pensare ad un museo “diffuso” nel territorio
Filippo Pacini and the method of wax injection for the preservation of anatomical specimens
Full text linkFilippo Pacini is famous for his histological researches and in particular for the discovery of the small sensory organs known as Pacinian corpuscles in 1831, and the identification of the cholera bacillus in 1854. His researches touched a wide range of different medical and technical topics, from normal anatomy and physiology to pathology, from the methodology of preservation of anatomical specimens to the invention of new types of microscope. Despite this apparent heterogeneity of interests, we think there is a common denominator behind all his scientific production: his capacity to observe anatomical structures, to understand their significance and functions, and – last but not least – to preserve them. Pacini was an extraordinary anatomical and histological preparer, this ability was one of the basic conditions for his discoveries. Pacini was Director of the Florence Museum of Anatomy and a great part of the collection was created under his direction. We can appreciate that Pacini explored all the methodologies of preservation of anatomical parts being interested in microscopic as well as macroscopic anatomical structures. Pacini left the recipes of preservative fluids to prepare dried anatomical specimens. Very interesting is a recipe of 1851 about a fluid composed by 10 ounces of yellow wax, 0,5 once of cinnabar and 1 drachma of turpentine. Pacini showed to have developed the old and important technique of wax injection. This method was established during the early XVII century, but some authors supposed it was already known by Greeks and Romans, and lost during the Middle Age. Jan Swammerdam (1637-1680), Frederik Ruysch (1638- 1731) and Regnerus de Graaf (1641-1673) were the early most famous producers of injected preparations. Cinnabar and turpentine, as in Pacini’s recipe, were the most frequent ingredients mixed with wax. The fluid was injected in the vascular system and the method comprehended also complex techniques of washing and drying the organ before and after the injection. In XVIII and XIX century the method was further developed and made possible the creation of spectacular preparations showing complex structures of normal and pathological anatomy. Angelo Dubini (1813-1902) in his famous Antropotomia (1837) described different injection methodologies. Lodovico Brunetti (1813-1899) ideated an alternative method, awarded at the Paris Universal Exposition in 1863, with the injection of tannic acid instead of wax. Comparing the descriptions of these researchers and their results with the specimens leaved by Pacini we can elucidate the technique used by Pacini himself and fully appreciate the skills necessary to obtain this “wonderful” objects
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