Items
Subject is exactly
the body
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Budin-Pinard Obstetric Manikin
This page from J. Clifton Edgar’s “The Manikin in the Teaching of Practical Obstetrics,” published in “The New York Medical Journal” (December 1890), includes illustrations of a Budin-Pinard obstetric manikin, which was used to teach medical students. The illustrations are rendered in black and white and show the manikin with close attention to detail. The manikin represents the torso of a female body, from just above the breasts to a few inches above the knee. Crucial to the manikin’s function are its rubber vulva, anus, and inflated anterior abdominal wall. Whereas the manikin itself is made of wood and propped up with a small peg, the abdominal wall and genital area are made of rubber and appear to be attached to the base of the manikin with bands of adhesive material. The article accompanying the illustration describes the manikin as follows: “the thighs are widely separated for convenience in operating, and the anterior abdominal wall is made of rubber capable of being distended with air, and so arranged on a frame hinged to the upper part of the body, that the whole may be thrown back, thus bringing the abdominal cavity and pelvic inlet into view. The pelvic excavation is so carved as to roughly represent the normal bony pelvis. And one piece of India rubber lines the abdominal and pelvic cavities. And at the pelvic outlet is so moulded and secured to the margin of the inferior strait as to form the vulva, vagina, and perineum” (702). -
Charlotte Brontë’s Dress
Charlotte Brontë wore this dress on her honeymoon to County Clare, Ireland. The dress consists of a bodice and a skirt, each made of lavender-coloured, striped, medium-weight silk. The bodice is adorned with tan-coloured silk velvet cuffs and collar, and edged with ten small triangles trimmed with silk fringe. The full-length skirt, attached to a waistband, is gathered across the centre back, while the skirt front is flat with small pleats at either side. A small bustle would have been worn underneath. Both the bodice and skirt are close fitting around the waist and fully lined with cream-coloured cotton. The bodice fastens down the centre front with fourteen metal hooks and eyes, and the skirt fastens with two large metal hooks and eyes on the right hand side. The photos showing the interior of the dress reveal alterations and some of the damage to the interior caused by stress on the fabric. -
Miscarriage Specimens
A single printed page from the “Transactions of the Michigan State Medical Society for the Year 1896” displays four images of fetal tissue in glass jars, each labelled in a small serifed font. These photographs appear in a medical article by William C. Stevens titled “Partial Abortion; Expulsion of the Amniotic Sack Alone; Three Specimens,” which demonstrates how late-century medical professionals used such specimens. Captions for each image describe the size of the specimens: specimen 1, at the top left-hand corner, is “½ natural size”; specimen 2, at the top right-hand corner, is “2/3 natural size”; specimen 3, at the bottom left-hand corner, is “½ natural size”; specimen 4, at the bottom right-hand corner, is “2/3 natural size.” The details of the specimens are unclear due to the grainy quality of the halftones (a type of mechanical reproduction that allowed photographs to be reproduced as prints). -
A Policeman's Hat
This black-and-white engraving of Charles Frederick Field, a retired detective of the Metropolitan Police Force, attributed to an 1855 issue of the “Illustrated News of the World,” features Field wearing his policeman's hat. In the image, Field sits on a chair with his torso facing slightly towards the right; the portrait captures the upper part of his torso and we can see the top part of the chair sketched in behind him. He wears a black top hat tipped back on his head as well as a version of the same clothing he would have adopted as a plainclothes detective: jacket, vest, white shirt, and cravat. A shadow behind him frames his head and adds depth to the image. The shading indicates that the hat is dark in colour but does not provide any information about the hat’s material. -
Amelia Wood's Conversation Tube & Pouch
This black conversation tube, now part of the Ken Seiling Waterloo Region Museum Collections, has a metal earpiece on one end of a long cotton tube and a metal mouthpiece on the other end. The black drawstring pouch that was used to store the conversation tube is decorated with ornate hand-beading, also in black: eyes, a nose, and the outlines of a face and feathers come together to form an owl’s face. -
The Brontë Family's Broken Hair Bracelet
This simple but sophisticated nineteenth-century hairwork bracelet is composed of six thin plaits of light brown hair, joined together at each end by metal clasps. The photographs above show the bracelet, housed at the Brontë Parsonage Museum in Haworth, in its current state. Uniformly muted in colour but slightly iridescent, the golden tinge of the hair complements the glinting metal in the flat links of the clasp. A partially obscured safety chain connects the two clasps at the ends of the bracelet, hidden underneath the body of the piece. The bracelet features two kinds of braid, alternating between the two styles to achieve an illusion of complexity and intricacy when viewed from afar. There is, however, one broken plait that has detached from the rest; having become partially unraveled, these hairs splay out loosely in all directions. The hair at the end of the broken plait still holds an imprint of its previous braided configuration, a subtle imprint that persists despite the passage of time.