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This chapter examines several late sixteenth-century anatomical works that adopted either the terms and/or methods of analysis and synthesis. Following a general discussion of the various roles that images could play in anatomy, I compare methodological discussions of anatomy as analysis and synthesis with the actual dissection procedures and results of anatomical investigation of the eye found in works by Costanzo Varolio (1543–1575), André du Laurens (1558–1609), Girolamo Fabrici d’Acquapendente (1533–1619), and Giulio Casserio (1552–1616). The “method of anatomy” is discussed from several perspectives: as a dissection procedure leading to discovery, with physiological/theoretical implications only implied; as a pedagogical ordering of a text or course on anatomy, whereby one chooses either analysis or synthesis as one’s method; as an art (analysis) or a science (synthesis); as human artifice (analysis) vs. nature’s processes (synthesis/genesis); and finally as an ordered procedure, wherein one first dissects animal bodies, discovers temperaments and structures, and then conceptually reassembles the newly discovered and understood parts, with the aim of understanding the animal soul.

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Cutting Through the Epistemic Circle: Analysis, Synthesis, and Method in Late Sixteenth- and Early Seventeenth-Century Anatomy

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    2025年

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  • Tawrin Baker

摘要

This chapter examines several late sixteenth-century anatomical works that adopted either the terms and/or methods of analysis and synthesis. Following a general discussion of the various roles that images could play in anatomy, I compare methodological discussions of anatomy as analysis and synthesis with the actual dissection procedures and results of anatomical investigation of the eye found in works by Costanzo Varolio (1543–1575), André du Laurens (1558–1609), Girolamo Fabrici d’Acquapendente (1533–1619), and Giulio Casserio (1552–1616). The “method of anatomy” is discussed from several perspectives: as a dissection procedure leading to discovery, with physiological/theoretical implications only implied; as a pedagogical ordering of a text or course on anatomy, whereby one chooses either analysis or synthesis as one’s method; as an art (analysis) or a science (synthesis); as human artifice (analysis) vs. nature’s processes (synthesis/genesis); and finally as an ordered procedure, wherein one first dissects animal bodies, discovers temperaments and structures, and then conceptually reassembles the newly discovered and understood parts, with the aim of understanding the animal soul.