656 research outputs found
I teatri anatomici dell’Università di Pisa
No full textQuesto articolo prosegue le pubblicazioni della sezione della nuova rivista della Società Italiana di Storia della Medicina dedicata al progetto THesa (THeatre Science Anatomy), che mira alla catalogazione, alla riscoperta e alla rivalutazione dei teatri anatomici storici, sorti tra il Medioevo e la prima metà del Novecento. In accordo con lo spirito del progetto, questo articolo è dedicato ai teatri anatomici dell’Università di Pisa. La lunga tradizione degli studi anatomici pisani iniziò con la presenza a Pisa, su invito di Cosimo I de’ Medici, del celebre anatomista Andrea Vesalio (1514-1564), considerato il padre dell’anatomia moderna e autore del De Humani corporis fabrica, un’opera che rivoluzionò l’approccio allo studio del corpo umano. È proprio con la presenza di Vesalio che si ha la prima documentazione di un teatro anatomico universitario. Con lo sviluppo della chirurgia e l’aumento degli studenti, alla fine del Settecento il teatro fu spostato presso l’ospedale, subendo nel tempo molti rimaneggiamenti e restauri. Risultato poi inadeguato, ne fu allestito uno nuovo nella Scuola Medica, costruita nel 1874. Purtroppo nessun teatro anatomico pisano è sopravvissuto fino ai giorni nostri.This article continues the publications of the section of the new journal of the Italian Society of the History of Medicine dedicated to THesa (THeatre Science Anatomy) project, which aims at cataloging, rediscovering and re-evaluating historical anatomical theaters, which arose between the Middle Ages and the first half of the twentieth century. In accordance with the spirit of the project, this article is dedicated to the anatomical theaters of the University of Pisa. The long tradition of Pisan anatomical studies began with the presence in Pisa, upon invitation of Cosimo I de’ Medici, of the famous anatomist Andrea Vesalio (1514-1564), considered the father of modern anatomy and author of De Humani corporis fabrica, a work that revolutionized the approach to the study of the human body. It is precisely with the presence of Vesalius that we have the first documentation of a university anatomical theater. With the development of surgery and the increased number of students, at the end of the eighteenth century the theater was moved to the hospital, undergoing many changes and restorations over time. Later inadequate, a new one was set up in the Medical School, built in 1874. Unfortunately, no Pisan anatomical theater has survived to this day
Anatomical Theatres of the University of Pisa.
No full textThis article is dedicated to the anatomical theaters of the University of Pisa. The long tradition of anatomical
studies began with the presence in Pisa of the famous anatomist Andreas Vesalius (1514-1564), upon the
invitation of Cosimo I de’ Medici. Vesalius, considered the father of modern anatomy and author of De
Humani Corporis Fabrica, revolutionized the approach to the study of the human body. It is precisely with
Vesalius's presence that we have the first documentation of a university anatomical theater. With the
development of surgery and the increased number of students, the theater was moved to the hospital at the
end of the eighteenth century, undergoing many changes and restorations over time. When it later became
inadequate, a new theater was set up in the Medical School, built in 1874. Unfortunately, no anatomical
theater has survived to this day
Testimonianze sugli strumenti chirurgici nel Museo di Anatomia Umana “Filippo Civinini” dell’Università di Pisa.
No full textOrgani interni. In: “Prometheus. Testo Atlante di Anatomia”. Seconda edizione. Autori: Michael Schünke, Erik Schulte, Udo Schumacher, Marcus Voll, Karl Wesker.
No full textatlante di anatomia umana
Filippo Pacini and the discovery of the lamellar corpuscles
No full textThe anatomist and pathologist Filippo Pacini (1812-1883) was born in Pistoia, where he worked until 1840, then he moved to Pisa (1840-1846), and Florence (since 1847). When he was still a student in Pistoia, he described the presence of corpuscles along the digital nerves of the hand. Already observed in previous works, Pacini also provided a functional role for the organelles. The presentation of the research at the Società Medico-Fisica of Florence (1835) and at the Prima Riunione degli Scienziati Italiani in Pisa (1839), and its publication in the Nuovo Giornale de’ Letterati (1836) were quite ignored. Then, just arrived in Pisa, Pacini decided to publish a book entirely dedicated to history, anatomy, and physiology of the nuovi organi, with experimental procedures adopted during dissection [1]. Finally, in 1843 Henle sent a letter to the Quinta Unione degli Scienziati Italiani in Lucca, where he firmly praised the Pacini’s discovery. Indeed, in 1844 Henle and Kölliker published a book with further observations about the new organs, now called Pacinischen Körperchen [2]. The right tribute to Pacini’s merit was accomplished. Pacini described large ovoid corpuscles consisting of concentric layers or lamellae of connective tissue surrounding a nerve ending, their microscopic structure and distribution in the body, and their function as being concerned with the sensation of touch and deep pressure. He also compared the corpuscles to the electrical organs of the torpedo, almost formed like a voltaic pile, and interpreted them as animal magneto-motors, as organs for that peculiar vital energy known as animal magnetism or mesmerism. In this respect, Pacini’s discovery was also highly considered by mediums to explain some paranormal phenomena. Some interesting preparations of lamellar corpuscles were left by Pacini in the anatomical museums of Pisa and Florence
Giuseppe Petrini. Il medico abruzzese che carpì il metodo di cura della sciatica a un frate.
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