rst to make and represent anatomical cross
sections. See Leonardo: Quaderni d'Anatomia, Jacob Dybwad,
Kristiania, 1911-1916, Vol. V.

(25) See Knox: Great Artists and Great Anatomists, London, 1862,
and Mathias Duval in Les Manuserits de Leonard de Vince: De
l'Anatomie, Feuillets A, Edouard Rouveyre, Paris, 1898. For a
good account of Leonardo da Vinci see Merejkovsky's novel, The
Forerunner, London, 1902, also New York, Putnam.

HARVEY

LET us return to Padua about the year 1600. Vesalius, who made the
school the most famous anatomical centre in Europe, was succeeded by
Fallopius, one of the best-known names in anatomy, at whose death an
unsuccessful attempt was made to get Vesalius back. He was succeeded in
1565 by a remarkable man, Fabricius (who usually bears the added name
of Aquapendente, from the town of his birth), a worthy follower of
Vesalius. In 1594, in the thirtieth year of his professoriate, he built
at his own expense a new anatomical amphitheatre, which still exists
in the university buildings. It is a small, high-pitched room with six
standing-rows for auditors rising abruptly one above the other. The
arena is not much more than large enough for the dissecting table which,
by a lift, could be brought up from a preparing room below. The study of
anatomy at Padua must have declined since the days of Vesalius if this
tiny amphitheatre held all its students; none the less, it is probably
the oldest existing anatomical lecture room, and for us it has a very
special significance.

Early in his anatomical studies Fabricius had demonstrated the valves in
the veins. I show you here two figures, the first, as far as I know, in
which these structures are depicted. It does not concern us who first
discovered them; they had doubtless been seen before, but Fabricius
first recognized them as general structures in the venous system, and he
called them little doors--"ostiola."

The quadrangle of the university building at Padua is surrounded by
beautiful arcades, the walls and ceilings of which are everywhere
covered with the stemmata, or shields, of former students, many of them
brilliantly painted. Standing in the arcade on the side of the "quad"
opposite the entrance, if one looks on the ceiling immediately above the
capital of the second column to the left there is seen the stemma which
appears as tailpiece to this chapter, put up by a young Englishman,
William Harvey