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FABRICATING THE BODY: THE ANATOMICAL MACHINES OF THE PRINCE OF
SANSEVERO
Lucia Dacome and Renata Peters
Abstract
The so-called anatomical machines of the Prince of Sansevero, on display at the Museo Capella
Sansevero in Naples, are two anatomical models, of a man and a woman, which depict the
system of blood vessels in the human body. They were made by the anatomist Giuseppe Salerno
in the mid-18th century and presented as the result of anatomical preparations based on a
technique known as “anatomical injection” (injection of embalming substances in cadavers).
Sansevero’s anatomical machines have gradually become the subject of a legend, according to
which the models were the outcome of an operation of human vivisection in which a woman and
a man were killed through the injection of embalming substances in their blood vessels.
Due to lack of written documentation on the early history of the anatomical machines,
controversy continues about how they were actually made. This project tried to address this
controversy by combining examination and instrumental analysis of their raw materials and
manufacturing techniques with historic research. The conclusions of this study contradict the
content of the well-known legend and raise questions about the nature of these objects as
products of anatomical injection. More importantly, they also allow the re-telling of the story of
the anatomical machines and offer an insight into the world where the legends surrounding
Sansevero and the models were originated.
1. Introduction
The so-called anatomical machines of Raimondo di Sangro, Prince of Sansevero (1710-1771),
are two anatomical models, of a man and a woman, which represent the system of blood vessels
of the human body (Figs. 1, 2 and 3). Still surviving today, they were manufactured by the
anatomist Giuseppe Salerno in the mid-18th century and were originally displayed as part of the
cabinet of curiosities of Raimondo di Sangro, an eighteenth-century Neapolitan nobleman,
military man, savant, and writer, who contrived curious objects and mechanical devices, and
displayed them in his Palace. As a natural inquirer, di Sangro engaged in correspondence with
savants in other parts of Europe; in a series of letters published in the 1750s he claimed, for
example, to have found a source of eternal light on the basis of his experimental pursuits (di
Sangro 1753a, di Sangro 1753b, de Sangro 1991). Di Sangro also claimed to have contrived
special materials such as waterproof fabric, vegetable silk, vegetable wax and artificial blood,
and to have used some of these materials in the creation of objects for his cabinet and in the
decoration of the Sansevero Chapel (Cioffi 1994). Di Sangro’s cabinet and chapel (Fig. 4)
became Grand Tour attractions and were regularly visited by travellers. In 1766, they were
described in the booklet “Breve nota di quel che si vede in casa di Raimondo di Sangro, Principe
di Sansevero” (Anon. 2001), a text believed to have been authored by di Sangro himself, which
introduced visitors to the curiosities one could see in the Sansevero Palace. The two anatomical
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machines are the only objects of the cabinet known to still exist today.
Fig. 1. The female anatomical model.
(All photos by R. Peters except as noted).
Fig. 2. The male anatomical model.
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Fig. 3. The male
and female models
on display at the
lower level of the
Sansevero Chapel
and Museum
(Renata Peters in
the middle). Photo
by L. Dacome.
Fig. 4. The Chapel of Sansevero, also known
as Santa Maria della Pietà.
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Historical documentation on the manufacture of the anatomical machines is scarce. In the few
18th century sources that have survived to this day, the anatomical machines are presented as
anatomical preparations based on “injection”, an embalming technique (believed to be based on
injecting cadavers with a mixture of waxes, solvents and other materials) that allowed visualizing
inner bodily parts. Perfected in the late 17th century by Dutch anatomists such as Reinier de
Graaf, Frederik Ruysch, and Jan Swammerdam, the technique of anatomical injection was
regarded as a particularly promising means for investigating the inner body and an invaluable
source of medical knowledge based on visualization (Cole 1921, Cook 2007).
The history of the manufacture and early viewing of the anatomical machines may easily be
placed in this context. Created by an anatomist and displayed in the cabinet of curiosities of a
savant, these anatomical objects testify to the intersection between 18th century anatomical
pursuits, experimental cultures, and practices of collecting and displaying. Yet this is only one
aspect of these objects’ peculiar histories. By the end of the 19th century, the origin of the
anatomical machines became the subject of a legend in which they were taken to be the result of
the injection of embalming substances into two of di Sangro’s servants while they were still alive
(Croce 1923). In 1894, the essayist Fabio Colonna di Stigliano reported about the legend in a
prestigious periodical on Neapolitan monuments and arts, “Napoli nobilissima”, where he wrote
that he had gathered the story in the streets and alleys of Naples (di Stigliano 1894, Croce 1923).
Lack of documentation on the raw materials and manufacturing techniques of the anatomical
machines has made it difficult to appraise how the models were actually made. This shortage
has, in turn, created a fertile ground for the spreading of the legend, which survives to this day.
This paper discusses some aspects of the manufacturing techniques and raw materials of these
two anatomical models and the impact that lack of historical memory of these processes may
have made on the history of the models as well as on the biography of the Prince of Sansevero
himself. Investigation into the raw materials and manufacturing techniques of the anatomical
machines took place in tandem with historic research on the activities of the Prince of Sansevero.
The social-historic aspects of the research informed the examination and instrumental analysis of
the pieces, and vice-versa. The integration of these two approaches posed new questions, and
opened up the way to a more informed understanding of the material fabric of the models and the
context in which they were created.
As it will be shown below, the conclusions drawn from this study contradict a well-known
legend and raise questions about the “authenticity” of these objects as products of anatomical
injection. More importantly perhaps, these conclusions provide new insights into the history of
these anatomical models.
2. Viewing the inner body
The history of anatomical models dates back well before the 18th century. A long-standing
tradition of votive objects invoking or acknowledging divine intervention in the cure of serious
diseases and injuries found expression in the offering of anatomical models of the affected bodily
parts. Since the Renaissance, anatomical models also started to appear in artistic ateliers and in
the cabinets of physicians and surgeons as tools that helped both artists and medical practitioners
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to study the proportions of the human body. In the course of the 18th century the practice of
anatomical modeling reached a high point of production and dissemination thanks also to the
patronage of a number of European sovereigns, including Peter the Great of Russia, pope
Benedict XIV, the Grand Duke of Tuscany Peter Leopold and his brother the Holy Emperor
Joseph II, who sponsored the creation and displays of anatomical collections. By the end of the
18th century, anatomical models could be found in a variety of venues, including museums,
natural history and medical cabinets, workshops, academies, universities and medical and
midwifery schools. They were used in the training of medical students, midwives and artists, and
came to be regarded as an effective method of anatomical teaching that could spare students the
problems associated with the dissection of cadavers (e.g. deterioration, smell or risk of
contamination). In addition, models revealed the wondrous complexity of the human body, and
enticed the curiosity of increasingly larger audiences of lay viewers. Along with anatomical
models made out of different materials, such as wax, wood, clay and plaster, 18th century
anatomical collections often also included anatomical preparations of embalmed bodily parts
(Haviland and Parish 1970, Lemire 1990, Düring et al 1999).
By the time the anatomical machines appeared in the cabinet of curiosities of the Prince of
Sansevero, anatomical preparations based on injection had come to be regarded as a particularly
effective means for investigating the inner body and revealing otherwise invisible bodily parts.
As such they had raised the expectation that it was possible to visualize the circulatory system
and chart the human body in an unprecedented way. In 1784, the British anatomist William
Hunter emphasized this expectation by saying that “filling the vascular system with a bright
colored wax, enables us to trace the large vessels with great ease, renders the smaller much more
conspicuous, and makes thousands of the very minute ones visible, which from their delicacy,
and the transparency of their natural contents, are otherwise imperceptible” (Hunter 1784, 56).
3. The impact of the Machines
By displaying a complex web of blood vessels, di Sangro’s anatomical machines substantiated a
remarkable instance of this process of unveiling the “invisible”. In 1766, “Breve nota di quel che
si vede in casa di Raimondo di Sangro, Principe di Sansevero” presented them as unique objects
because they displayed whole bodies and were crafted with special diligence. However, almost a
century and a half later, Colonna di Stigliano described them as a “macabre and dreadful sight”
characterized by a “dreadful entanglement of veins and arteries that stimulated in the viewer the
greatest marvel” (di Stigliano 1894, 121 and 154).
Speculations on the origin of the anatomical machines have proliferated since the publication of
Colonna di Stigliano’s article. The anatomical machines have been interpreted, re-interpreted and
situated in ever new contexts. Over the years, they have accordingly appeared in a variety of
publications ranging from newspaper articles to comic books, from surrealist periodicals to
esoteric publications and horror websites.
In 1964, the female anatomical machine appeared on the cover of an issue of the French
periodical “La Brèche, Action Surréaliste”, an irreverent surrealist periodical edited by André
Breton among others. In a celebratory article by Paule Thévenin , which questions the reliability
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of the legend, di Sangro is portrayed as a man of insatiable curiosity and free thinking, a “savant
impenitent” (an unrepentant savant) and “intrepid discoverer” . The anatomical machines, on the
other hand, are described as the outcome of “injection”, and an expression of Sansevero’s
inventive genius (Thévenin 1964, 15).
Some twenty years later, the anatomical machines made their entry in the world of comic books,
when they became the main characters of an issue of the Italian publication Martin Mystère,
titled “Il Principe delle Tenebre” (Castelli and Alessandrini 1985). The comic series describes
the adventures of Martin Mystère, also known as “Detective of the Impossible”. In “Il Principe
delle Tenebre” the anatomical machines are unearthed during the excavations of Sansevero’s old
laboratory. They are then resuscitated, their DNA is cloned and they are replicated and turned
into villains whom Martin Mystère, a very resourceful hero, has to confront.
The legend has continued to circulate across the media and on 18 October 1996, for instance, the
journalist Rino di Stefano published an article on the Prince of Sansevero titled “Il principe
maledetto”, in which the legend was presented for readers of the Italian newspaper “Il Giornale”
(di Stefano1996).
“La leyenda del Príncipe Alquimista”, a book written by Pierdomenico Baccalario (2002),
presents a different angle. When in disagreement with the headmaster of their school, the main
characters, Darío y Fiammetta, are told the story of Raimondo di Sangro’s struggles and pursuits.
Di Sangro is portrayed in a redeeming light and described as a misunderstood man who was
ahead of his time.
The advent of the internet has opened up new venues for the dissemination of the legend. A
search on “Raimondo di Sangro” on the popular Google search engine (Google 2007) returned
79,000 entries. The content of the first 30 entries ranges mainly from esoteric to horror-related
topics where the legend of the anatomical machines is often narrated with macabre overtones. Di
Stefano’s own article is available on the web both in Italian and in English under the title
“Raimondo di Sangro, the ‘Sorcerer’ Prince” (di Stefano 1996).
The above is only a sample of the attention the anatomical machines have attracted over time and
the different reactions they have provoked. Perhaps also due to this conspicuous presence in the
media, the anatomical machines have become again a regular sightseeing for tourists visiting
Naples today.
4. Manufacturing techniques and raw materials
The heirs of Sansevero and current owners of the Sansevero Chapel hold all rights relating to the
anatomical machines. Authorization for examination and sampling was kindly granted after
detailed negotiations and the submission of a comprehensive work plan. Unfortunately, the
amount of time for examination and the extent of sampling granted were quite limited, and thus
the results of this study are only partial. Nonetheless, it suffices to determine the nature of the
materials of the anatomical machines and their manufacturing techniques.
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The models show a complex and delicate network of arteries, veins and capillaries of different
thicknesses, colors and lengths. They are about 160 cm tall, the female is slightly taller. The male
figure is mounted directly onto the wall. There are two lead alloy braces above each knee (Fig.
5), hooks drilled into each tibia and a large screw placed into the occipital bone of the cranium
(Fig. 6). The female is mounted onto a plinth, attached to it from the feet (Fig. 7).
Fig. 5. Lead alloy braces help
hold the male model onto the
wall.
Fig. 6. There is a large screw placed into the
occipital bone of the cranium of the male
model.
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Fig. 7. The female is
mounted onto a plinth,
attached to it from the
feet.
The bones of the models are held together with metal pins, nails and wires (Figs. 8 and 9). Most
of the bones are present in both figures but many of them seem either very or slightly out of
place, suggesting that they may have been moved in the past. Some of the vital organs are
Fig. 8. The bones are
held together with
metal pins, nails and
wires (see metal pin
placed into the head of
the humerus).
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present but also seem misplaced. Although the organs were not sampled, visual examination
suggests they may have been made with a core of wood which was coated with wax (Fig. 10).
The enlarged aspect of the area where the uterus would have been suggests that the woman may
have died either while or after giving birth (Fig. 11). No pubic symphysis (cartilaginous joint)
could be seen between the pubic bones (Fig. 12).
Fig. 9. Wires and cables
hold the bones in place.
Fig. 10. Visual examination of the
organs suggests they may have been
made with a core of wood which was
coated with pigmented wax.
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Fig. 11. The enlarged appearance of the area
where the uterus would have been suggests
that the woman may have died either while or
after giving birth.
Fig. 12. No pubic symphysis
(cartilaginous joint) could be
seen between the pubic
bones.
The crania were sawn open and copper alloy hinges were placed on either side (Fig. 13) so that
the complex network of blood vessels present in the cranial cavity could be inspected. The
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possibility of handling, opening and disassembling anatomical models was a frequent feature of
their function as educational objects. The male has only 16 teeth, some with longitudinal cracks
(Fig. 14). They seem to have been cut, sawed or sanded. It is not known when or whether the
missing teeth were pulled out. The outer surface of the male’s cranium is clean, the female’s
cranium, on the other hand, is covered with blood vessels (Fig. 15) and she has most of her teeth
present.
Fig. 13. The crania were sawn open so that
the complex network of blood vessels present
in the cranial cavity could be inspected.
Fig. 14. The male has only 16
teeth; some have longitudinal
cracks.
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Fig. 15. The outer surface of the female’s
cranium is covered with blood vessels.
The feet of the male figure are missing (Fig. 16), so is one of his testicles and the fetus that used
to lie by the female’s feet. The female’s structure is much sounder than the male model’s and her
general appearance is more organized. However, they seem to have been made following the
same techniques and using the same materials.
Fig. 16. The feet of the male figure are
missing.
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Vessels from the two models were sampled in different areas. Altogether, 12 samples (from 3
mm to 30 mm long) were taken, 4 of them were already disassociated from the models. No
material was collected from the organs or arteries due to their large dimensions and conspicuous
locations. All samples were examined using transmitted and polarized light microscopy,
scanning electron microscopy (SEM) and Fourier transform infrared spectroscopy (FTIR). The
results of these analyses show that the studied vessels have a core made out of a metal wire
twisted with fibres, and coated with a mixture of pigmented waxes (Figs. 17 and 18).
Fig. 17. Some of the 12 studied samples.
The results show that the studied vessels
have a core made out of a metal wire
twisted with fibers, and coated with a
mixture of pigmented waxes
Fig. 18. Core of some of the studied samples,
after having the wax layer scraped off.
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SEM analysis revealed that the metal wire is made out of an iron alloy. Transmitted and
polarized light microscopy identified the fibers (twisted with the iron wire), as silk. FTIR
analysis was used to study the wax. The resulting spectra showed it to be consistent with
characteristics of bees wax. Interestingly but unsurprisingly, historic research showed that these
materials were commonly used by modelers of the 17th and 18th centuries (Archivio di Stato di
Bologna 1732, Archivio di Stato di Bologna 1742, Haviland and Parish 1970, Lemire 1990).
This study did not uncover any evidence to indicate that the anatomical machines were made
following the techniques of injection. No evidence was found to indicate that the vessels of the
cadavers used to make the so-called anatomical machines were injected with embalming
substances.
On the contrary, all the evidence uncovered indicates that the circulatory system depicted on the
anatomical machines was artificially fabricated with waxes, an iron wire and silk fibers, probably
following techniques commonly used by anatomists of that time (Archivio di Stato di Bologna
1732, Archivio di Stato di Bologna 1742).
5. Conclusions
Di Sangro’s anatomical machines seem to have an undeniable capacity to evoke a codified
imagery of dread and death. Arguably, their ghastly looks may have contributed to raise the
curiosity and imagination of viewers. At the same time, lack of knowledge about their origins
and manufacturing techniques has seemingly created a propitious ground for the development of
a legend that situates them in the contexts of the narratives about human vivisection and the
controversial handling of cadavers that has accompanied the history of anatomical practice. The
anatomical machines provide a particularly interesting case study for exploring both the history
of anatomical objects and the complex web of relations that are inscribed in historical artifacts.
Having taken on different meanings at different times, and having been appropriated and
reinterpreted in a variety of different arenas (as medical specimens, horror creations, mythical
objects, curiosities, educational tools, etc), these anatomical objects offer a unique point of entry
into the study and historical reconstruction of the ‘life of things’. The idea that things have a life
of their own and as such may become subjects of biographical writing is not new. As Igor
Kopytoff has put it (1986, 66), we may ask objects similar questions to those one asks in relation
to people’s biographies. In order to understand ‘the life of things’, we need to consider their
origins, originators, status, uses and careers in different times, cultural markers, changes caused
by age and end of usefulness. Similarly, we need to understand the various phases of their
existence, the impact the environment and social factors had on their lives, and their changing
relationships with people.
By investigating the manufacturing techniques of the anatomical machines, this research has
aimed at contributing to their biography. In the absence of appropriate documentary evidence,
examination and instrumental analysis informed the understanding of material fabric of the
models and allowed us to step back from the legend that has developed around di Sangro’s
anatomical machines.
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Furthermore, this study may also inform the conservation of similar anatomical models.
Likewise, it may be useful in the discussions on the notions of authenticity and fabrications, and
how those are affected by people’s perceptions and beliefs. All the controversy that has
surrounded the Turin Shroud illustrates how hard it is to predict how collective imagery evolves
(Hedges 1997). The different studies that have been carried out to assert the exact date of the
origin of the shroud have done little to affect the faith some people have in it. In some ways,
these studies have even been incorporated into the way the shroud is perceived. Similarly, the
recent revelation that some of the material believed to be the relics of Joan of Arc may in fact
have been made from the remains of an Egyptian mummy (Buttler 2007) also has the potential to
cause further debate about the relationship between notions of authenticity and the perception of
historically charged objects.
Although the conclusions drawn from this study are at variance with the content of the legend
developed around the anatomical machines, our aim has not been to set it aside. Rather, the
process of investigation has made it possible to revisit the legend in light of the variety of
interpretations and re-appropriations that have characterized the life of these anatomical models.
By drawing attention to the complex historical interplay between texts, oral traditions and
artifacts, this study enriches our understanding of the history of anatomical models, their place in
the material culture of medicine and their role as sources of knowledge.
Acknowledgments
Our special thanks to the owners of the Sansevero Chapel and Museum for granting
authorization for examination and sampling of the Anatomical Machines. Many thanks also to
University College London Institute of Archaeology, the Wellcome Trust, and the Wellcome
Trust Centre for the History of Medicine at University College London, sponsors this project.
Thanks are also due to the following people who contributed to this project at different stages:
Joseph Berkovitz, Sandra Bond, Harold J. Cook, Marcos Martinón-Torres and Kevin Reeves.
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Authors’ Addresses
Please address all correspondence to Ms. Peters.
Lucia Dacome, Institute for the History and Philosophy of Science and Technology, 91 Charles
St., West,Victoria College, University of Toronto, Toronto, Ontario, Canada M5S 1K7
Renata Peters, Institute of Archaeology, University College London, 31-34 Gordon Square,
London WC1H 0PY (m.peters@ucl.ac.uk). Please address all correspondence to R. Peters.
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