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عدنا حداد منا لـ 3 أيام

By David Teniers the Younger

— Love & Other Drugs

For the leaders of the medical profession in the 19th century dissection was as much a rite of passage, a moral and sentimental education, as a tool of clinical instruction. Experience of the dead body was, they argued, central to the formation of medical and surgical character. A good doctor was detached and analytical, thoughtful and reflective, aware of (though never overwhelmed by) the enormous responsibilities and privileges of the profession. Conversely, even the most detailed anatomical knowledge was useless if its possessor panicked or fainted, if they were too nervous to hold a knife or too bloodthirsty to stop cutting. Dissection moulded the bodies of dissectors, making clear eyes and fine fingers, a sharp brain, a stout heart and—most of all— a strong stomach. Images of the human body in health and disease—or rather the use of these images while teaching and in practice—built a community of clinicians with shared skills, principles and values, who could observe their patients' bodies in the same consistent and coherent manner. — The Sick Rose, by Richard Barnett

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William Hazlitt wrote: "The anatomist is delighted with a coloured plate, coveying the exact appearance of the progress of certain diseases, or of the internal parts and dissections of the human body. We have known a Jennerian professor as much enraptured with a delineation of the different stages of vaccination, as a florist with a bed of tulips, or an auctioneer with a collection of Indian shells..... The learned amateur is struck with the beauty of the coats of the stomach laid bare, or contemplates with eager curiosity the transverse section of the brain... and overcomes the sense of pain and repugnance, which is the only feeling that the sight of a dead and mangled body presents to ordinary men. It is the same in art as in science." But how should we understand this tension between ‘the beauty of the coats of the stomach’ and 'the sight of a dead and mangled body'?..... Should we practise what Hazlitt's admirer, the medical-student-turned poet John Keats, called negative capability—the capacity to be ‘in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason’?

مقولة براين كوكس المفضلة من مسلسل SUCCESSION هي "I love you, but you are not serious people"

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He was a student of Jean-Léon Gérôme. You can guess that by their mutual love of nude art.

He was a student of Jean-Léon Gérôme. You can guess that by their mutual love of nude art.