Not long after this event it became the rule, among the leading painters and sculptors of the Renaissance period, to pay a great deal of attention to the study of human anatomy. The museums of Central and Southern Italy contain quite a large number of anatomical drawings that were made by Michael Angelo, by Raphael and by other great masters of that period. Doubtless many of my readers recall seeing, in the Cathedral of Milan, Marco Agrate’s (1562) extraordinary masterpiece, in the form of a life-size black marble statue which represents Saint Bartholomew standing erect, and carrying on one arm the folded skin of his entire body. In this statue all the muscles and bony prominences are modeled with perfect accuracy. It is a remarkable work of art. CHAPTER XXVII THE FOUNDERS OF HUMAN ANATOMY AND PHYSIOLOGY Among the earliest physicians of this period to inculcate the importance of substituting a correct knowledge of anatomy for the frequently incorrect descriptions that had been prepared by Galen and handed down through the succeeding centuries, were the following: Jacques DuBois of Paris (1478–1555), who was perhaps better known by his latinized name of “Sylvius”; Guido Guidi (died in 1569), who was also known as “Vidus Vidius”; and Winther of Andernach, a small city on the Rhine. These three men, all of whom taught anatomy at Paris, were commonly considered the best anatomists of that early period. DuBois was further entitled to the credit of having been the first physician to inject blood-vessels with a material that renders them more easily visible, and also the first person in Paris to dissect a human corpse. It was from these men that Vesalius, who afterward became such a famous anatomist, received his first practical instruction in this branch of medical science. Nothing further need be said here of DuBois, but brief sketches of Guido Guidi and of Berengarius of Carpi, another contemporary anatomist of considerable distinction, deserve to find places in our history of this period. Vesalius’ facetious remark that “Winther of Andernach never used a knife except for the purpose of dissecting his food” absolves us from the duty of saying anything further about his career as an anatomist.