[The anatomical model collection at the Universidade Federal de Ouro Preto's Museum of Pharmacy]. / Coleção de modelos anatômicos do Museu da Pharmacia da Universidade Federal de Ouro Preto.

The Ouro Preto School of Pharmacy was founded in 1839 and was the first pharmacy school in Latin America independent from a medical school. At the end of the nineteenth century, it had a collection of French anatomical models made by Deyrolle, Dr. Auzoux, and Vasseur-Tramod, many produced from wax or papier-mâché. This project involved recovering, identifying, cleaning, restoring, and exhibiting seventeen models found in various facilities from Universidade Federal de Ouro Preto. The models in good condition were exhibited in the Museum of Pharmacy (where this work was carried out) as part of the teaching collection for the Ouro Preto pharmacy course.

A Escola de Farmácia de Ouro Preto, fundada em 1839, foi a primeira da América Latina desvinculada de uma escola de medicina. No final do século XIX, contou com um acervo de modelos anatômicos franceses dos renomados Deyrolle, Dr. Auzoux e Vasseur-Tramod, muitos fabricados em cera ou papel machê. O presente trabalho teve como objetivo resgatar, identificar, higienizar, restaurar e expor os modelos. De unidades acadêmicas da Universidade Federal de Ouro Preto, 17 modelos anatômicos foram resgatados e transferidos para o Museu da Pharmacia, onde receberam o devido tratamento. Os modelos em melhores condições foram expostos no museu formando parte da coleção de ensino do curso de farmácia de Ouro Preto.

The history of vaccinology and hygiene through Achille Sclavo and the cultural patrimony conserved in the archives and museums: the key role of medical museology.

Over the centuries, the oldest universities have amassed an extraordinary patrimony of material and immaterial cultural assets, which have been created or acquired for the purposes of research or teaching. Now on display in museums, they testify to the evolution of knowledge and its diversification in various disciplines. In order to safeguard, conserve and study this precious heritage, we need to implement a cultural project that activates that "process of awareness" on which cataloging is based. This is a "reasoned awareness" that enables an object to be framed within a system of scientific knowledge and historical-critical relationships, which are essential to its conservation and, consequently, to its public exploitation. Through this process, we can uncover the history of an object, its characteristics and its uniqueness. This is the case, for example, of an optical microscope on display in the Museo di Strumentaria medica (Medical Equipment Museum), which is part of the Museum System of the University of Siena.

The Marburg Museum Anatomicum and its unusual gynecological specimens: A brief history and ethical contextualisation.

INTRODUCTION: The Marburg Museum Anatomicum displays a number of unique specimens related to obstetric problems. An ethically intensely disputed example is the bisected body of a pregnant woman and her fetus. Current information stemming from previous publications relates it to a fictional young woman who, who, having got pregnant by a student, committed suicide. This narrative was derived from a novel by the author Walter Bloem (1868-1951), orally transmitted without further proof of reliability. The present study attempts to uncover the true background beyond this narrative and to clarify the acquisition of the body by the anatomical collection and its personal background. SOURCES AND METHODS: Archival material as well as contemporary publications of professors of obstetrics and of anatomy along with data derived from civil and ecclesiastic registry offices were evaluated and compared with observations on the specimen. FINDINGS: Comparison of data derived from the fictional description and observations on the specimen showed significant differences, excluding the narrative as a reliable source. Closer examination of the scientific output of former chairs of obstetrics showed that Professor Wilhelm Zangemeister (1871-1930), head of the clinics of gynecology and obstetrics between 1910 and 1925, published several studies on the clinical significance of narrow pelvis during delivery. In his textbook of obstetrics, published in 1927, he showed an illustration of a frozen section of a pregnant woman with kyphosis who had died from myocarditis. The drawing clearly represents the specimen, having been mounted in a large glass vessel in 1922 and included in the collection of the Anatomical Institute. CONCLUSIONS: The current narrative on the bisected body of a pregnant woman and her fetus preserved in the Marburg Museum Anatomicum has nothing to do with the specimen in the collection. In fact, the latter was prepared in 1922 by order of the former professor of obstetrics, Wilhelm Zangemeister, who later published the case in his textbook of obstetrics. The ethical consequences of the changing ontological status and origin of the specimen and its public display are discussed.

Hotspots and Cutting-Edge Visual Analysis of Digital Museum in China Using Data Mining Technology.

During the last several years, the building and development of digital museums has grown in importance as a study issue of increasing importance. On the other hand, systematic and extensive literature study on digital museums is rare in the academic community throughout the world. This paper employs data mining technology to conduct a comprehensive analysis of the total amount of academic literature, research hotspots, frontiers, and trends in the field of digital museums in China since the beginning of the twenty-first century, including both historical and contemporary data. In this research, the CNIK database and the CiteSpace program are utilized. The findings revealed that the quantity of published literature expanded significantly between 2000 and 2021, with some variations along the way, but that the general growth rate remained consistent. Colleges and universities are the driving force behind academic research in the field of digital museums; research institutes and big museums play a key part in the academic research that is being conducted by digital museums. Cooperation between research institutes, on the other hand, is severely lacking. Furthermore, the advancement of digital technology is an unavoidable byproduct of the efforts to transform the digital museum into a smart museum, as previously said. When it comes to digital museum development in the postepidemic period, the optimization and updating of a user-centered information service platform is the most important step toward long-term success. In order to maintain the richness of Chinese traditional culture while also meeting the expanding cultural requirements of the general public, China's digital museum research has as its ultimate objective the construction of sustainable digital museums that are appropriate for the country's national conditions. The findings also demonstrate that the construction of a Chinese Digital Museum is a study issue with distinct Chinese features that has the potential to contribute to the preservation of Chinese cultural heritage, both tangible and intangible. This research gives insights into the following aspects: researchers and practitioners from across the world will work together to promote a better knowledge of the building and growth of the digital museum in China, among other things.

Curating duplicates: operationalizing similiarity in the Smithsonian Institution with Haida rattles, 1880-1926.

In the late nineteenth century, the anthropology curators of the Smithsonian Institution consulted their cataloguing systems and storerooms, assessing specimens in order to determine which could be designated as duplicate specimens and exchanged with museums domestically and abroad. The status of 'duplicate' for specimens was contingent on conceptions of similiarity impacted by disciplinary classification praxis, with particular emphasis on object nomenclature and formal attributes. Using rattles from Haida Gwaii collected between 1881 and 1885 by James Swan for the Smithsonian Institution, this article explores how anthropology curators designated rattles as exchangeable duplicate specimens. It considers cataloguing and spatial arrangements, as well as changing populations and formal characteristics of rattles, in order to explore how similarity was operationalized in the museum to produce duplicate anthropological specimens.

From Dresden to the world: images of the German Hygiene Museum's relations with Latin America, 1911-1933.

As of the nineteenth century, the number of world fairs and hygiene exhibitions grew significantly. This phenomenon was linked to the experience of modernity and the emergence of bacteriology, when different cities were sanitized with the aim of combating urban diseases and epidemics. For the purpose of sanitary education and hygiene propaganda, many objects and pictures were displayed in hygiene exhibitions and museums, such as the International Hygiene Exhibition of 1911 and the German Hygiene Museum, both in Dresden. The goal of this article is to analyze a chapter of the international history of health through images that portray the connections between the German Hygiene Museum and Latin American countries between 1911 and 1933.

Duplicates under the hammer: natural-history auctions in Berlin's early nineteenth-century collection landscape.

The nineteenth-century museum and auction house are seemingly distinct spaces with opposing functions: while the former represents a contemplative space that accumulates objects of art and science, the latter provides a forum for lively sales events that disperse wares to the highest bidders. This contribution blurs the border between museums and marketplaces by studying the Berlin Zoological Museum's duplicate specimen auctions between 1818 and the 1840s. It attends to the operations and tools involved in commodifying specimens as duplicates, particularly the auction catalogue. The paper furthermore contextualizes the museum's sales in a broader history of duplicate auctions across Berlin's collection landscape.

From Monsters to Malformations: Anatomical Preparations as Objects of Evidence for a Developmental Paradigm of Embryology, 1770-1850.

A common object found within medical museums is the developmental series: an arrangement of embryos depicting the transformation of an unremarkable blob into an anatomically organized and recognizable organism. The developmental series depicts a normative process, one where bodies emerge in reliable sequential stages to reveal anatomically perfect beings. Yet a century before the developmental series would become a visual model of embryological development, the very process of development itself was discerned through the comparative study of preserved human fetuses-specifically, those deemed "monstrous" or characterized as "malformations." This article examines how anatomically diverse fetal bodies were reformulated from singular curiosities into alternative developmental pathways whose characteristics testified to the laws of nature and to the primordial, physical relationship between humans and other species. In early nineteenth century Amsterdam, the father-son team of physicians Gerard and Willem Vrolik built up an internationally renowned anatomical museum famous especially for Willem's collection of fetal malformations. Physical preparations of fetal malformations play a central role in Willem's monumental handbook on developmental embryology: comparing human embryos against one another and the embryos of other species, Willem plots out a sequence of embryological development in which a body's form marks its place within the ever-unfolding natural order. In conversation with the literature on model organisms, this article explores how the "monstrous" gets standardized and, in doing so, contributes to the scientific production of a normative physiological process.

Wax hearts: seeking the antiquity of cardiac pathology.

Wax models of normal and diseased organs were formerly essential medical teaching tools. The ceroplastic heart models from two 19th century pathology museums at the Universities of Florence (n = 8) and Coimbra (n = 10) were analysed. The Florentine collection comprised congenital malformations as well as infectious and inflammatory disorders. The Coimbra waxworks included congenital defects, cardiac hypertrophy and dilation, valvular pathology and cardiac adiposity. This study focuses on heart diseases and teaching resources in European university hospitals during the 19th century. It also highlights the importance of wax models in medical education both then and today, in an era of informatics and digital photography.

Morton E Hall: Conservator of the Canadian War Museum in London, England during the Great War and Alberta's Second Pathologist.

Morton Eldred Hall (1887-1975), a little known pioneer pathologist in Western Canada who had trained at Belleview Hospital in New York City, arrived at the newly forming medical school at the University of Alberta in Edmonton in 1914. Shortly after this, First World War broke out and Hall enlisted. He was eventually posted at the Royal College of Surgeons in London where he assisted Sir Arthur Keith, the conservator of the Hunterian Museum and the Army Medical Collection, pathological specimens derived from fallen Dominion soldiers which were to be preserved as teaching specimens to help train military surgeons. Keith and Morton published important papers documenting the types of wounds generated by modern warfare. These papers are all that remain of the British War Collection as the museum was bombed by the Germans during Second World War. Specimens derived from Canadian casualties had been repatriated to Canada. Hall briefly served as the conservator for the Canadian Medical War Museum, the name given to Canadian specimens. After safely getting these precious war relics home in 1919, Hall returned to Edmonton where he was head of pathology at the Royal Alexandra Hospital, associate professor of pathology, and developed unique insights into university politics.

The life and legacy of William Keiller (1861-1931), anatomist, artist and curator.

After graduating in medicine from the Edinburgh Extramural School of Medicine, William Keiller trained in obstetrics and became anatomy lecturer at the Edinburgh College of Medicine for Women, where he successfully devised and developed an anatomical curriculum. In 1891, Keiller was appointed as the Professor of anatomy at the state medical department of the University of Texas, at the age of 30. He built up a nationally recognised anatomy department, museum and teaching curriculum informed by his experience in Edinburgh. Keiller left the University of Texas Medical Branch at Galveston a rich legacy, including anatomical specimens and drawings.

Sick skin. The history of the dermatological representations in Olavide Museum

This article presents a review of the history of dermatology through the visual teaching aids employed, including both two-dimensional illustrations in texts such as the dermatological atlases, and three-dimensional representations through moulages. We will examine the Olavide Museum and its contextualisation within 19th century dermatology, concluding with an analysis of a pathology within the institution’s systems of representation. The guiding thread throughout this study will be the emotion of disgust in relation to disease. We aim to show how disgust does not invariably respond to an atavistic mechanism but rather can be influenced by our knowledge, our methods of observation and our ability to "transform" reality

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The electroshock triangle: disputes about the ECT apparatus prototype and its display in the 1960s.

In the early 1960s, a climate of public condemnation of electroconvulsive therapy was emerging in the USA and Europe. In spite of this, the electroshock apparatus prototype, introduced in Rome in 1938, was becoming hotly contended. This article explores the disputes around the display of the electroshock apparatus prototype in the summer of 1964 and sheds new light on the triangle of personalities that shaped its future: Karl and William Menninger, two key figures of American psychiatry in Topeka; their competitor, Adalberto Pazzini, the founder of the Sapienza Museum of the History of Medicine in Rome; and, between them, Lucio Bini, one of the original inventors of ECT, who died unexpectedly that summer.

William Rutherford Sanders (1828-1881), anatomist, physician, linguist and museum conservator.

William Rutherford Sanders spent a childhood and early student days divided between Edinburgh and Montpelier, France before graduating in Medicine in Edinburgh. An early interest in the spleen was encouraged by a two-year period in Europe where he became familiar with the work of Helmholtz, Bernard and Henle. Returning to Edinburgh, his growing experience led to the position of assistant in the Infirmary pathology department. He conducted classes in the University of Edinburgh and on behalf of the Royal Colleges became familiar with the museum of the Royal College of Surgeons where he was chosen as Conservator in 1853. Criticised by 20th century historians for concentrating on verbal teaching rather than on the conservation of the museum, Sanders became a consultant physician to the Royal Infirmary in 1861 and in 1869 Professor of General Pathology. Throughout these years, Sanders gave as much time as possible to the study of the structure and function of the spleen and to neurological disorders such as hemiplegia. His later life was interrupted by a series of illnesses commencing with an abdominal abscess. A prolonged convalescence allowed the resumption of work but deranged vision and hemiplegia preceded his death on 18 February 1881.

Daniel Smith Lamb (1843-1929): A window into the early histories of the Army Medical Museum and Howard University Medical School.

U.S. Army doctor Daniel Smith Lamb was a significant figure in the history of American pathology during its formative years. For 55 years (1865-1920), Lamb performed hundreds of autopsies in and around Washington, D.C. and personally collected over 1,500 gross pathology specimens for the Army Medical Museum. His work began at the close of the Civil War and continued on through World War I, contributing substantially to gross pathological and histological studies that documented wartime pathology, thus further contributing to the training of Army doctors. Specimens he collected also include material from autopsies he conducted on President James Garfield, his assassin Charles Guiteau, and other historical figures. Under the auspices of the Army Medical Museum, he conducted autopsies across the city of Washington for the museum's collection, many of which survive to this day at the National Museum of Health and Medicine. He served under 12 U.S. Army Surgeons General and 11 Museum Curators and was noted to be a steadying influence during a time of constant leadership changes at that institution. Lamb was known throughout Washington, D.C. as an advocate of medical education for African-Americans and women. While working at the Museum, he simultaneously served for 46 years as professor of anatomy at Howard University (1877-1923). He wrote seminal histories of the institutions with which he was associated and in so doing also contributed significantly to the study of the history of medicine.

Los orígenes del Museo Nacional de Ciencia y Tecnología (MUNCYT) y la construcción del patrimonio científico-tecnológico en la España de la transición / The origins of the National Museum of Science and Technology (MUNCYT) and the construction of the scientific-technological heritage in Spain during the transition

El Museo Nacional de Ciencia y Tecnología (MUNCYT) fue fundado en 1980. Establecido en plena transición de la dictadura franquista hacia la democracia, un período en el que la ciencia y la tecnología fueron vistos como elementos cruciales para la modernización de España, el estudio de la creación del MUNCYT permite explorar algunas de las continuidades y discontinuidades que existieron entre el régimen franquista y el sistema democrático establecido tras la muerte del dictador en 1975. Curiosamente, el MUNCYT fue creado sin colecciones y no fue hasta 1982 que los primeros instrumentos llegaron al museo. Como muestra este artículo, la adquisición de estos instrumentos incorporó una retórica política específica que puede analizarse a la luz de los usos políticos de la historia de la ciencia y del papel desempeñado por los museos de ciencia y tecnología en tales prácticas (AU)

¿Olavide en el «Olavide»? Nuevas aportaciones al Atlas de la clínica iconográfica de la piel o dermatosis / No disponible

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