Ambrosi, Moira, Department of Chemistry Ugo Schiff, University of Florence, Italy
Understanding the formation of efflorescence on wax models at the Natural History Museum of Florence.
The appearance of a white efflorescence (commonly called "wax bloom") that periodically covers part or all of the surface of wax objects is a common phenomenon affecting wax objects in museums around the world. Although long known, its formation mechanism, as well as its correlation with the composition of the object, is not fully understood. The wax modeling workshop founded in Florence in 1771 by Felice Fontana was active for almost a century and produced models for various Italian and foreign institutions. The Natural History Museum of Florence, and in particular "La Specola", still houses several collections of wax models produced by Clemente Susini and collaborators. The collections include models of fruit and plants, vertebrates and invertebrates, and anatomical models, the latter representing a true three-dimensional treatise on human anatomy. In this work, thermal and X-ray measurements were performed to reveal the formation mechanism of the efflorescence and its effect on the structure of the models. The results indicate that poor solid-solid miscibility between the efflorescence compounds and the other beeswax components leads to phase separation followed by migration of the immiscible materials towards the model surface. Furthermore, X- ray diffraction reveals a higher structural order of the models compared to the reference beeswax, certainly related to the higher brittleness found by rheology measurements. Gas chromatography coupled to mass spectrometry was used to determine the efflorescence composition and to investigate its correlation with the model composition. As expected, the efflorescence is mainly composed of palmitic and stearic acids. Furthermore, the results suggest that the use of additives, such as oils and fats, contributes to the formation of the exudate, together with the natural aging of the beeswax.
Báez Hernández Montserrat, Andrea, Università di Teramo/ KU Leuven, Belgium
Tripisciano Modeled, Fasulo Produced: The Discovery of a Body-Reliquary from Caltanissetta in Mexico.
Gaetano Zumbo (1656–1701), Ercole Lelli (1702–1766), Anna Morandi (1716–1774), Felice Fontana (1730–1805), and Clemente Susini (1754–1814) were among the Italian masters of wax who were active between the 17th and 19th centuries. Renowned for their extraordinary work on anatomical and botanical models, their creations are now part of significant scientific collections across Europe. Meanwhile, the practice of waxwork for artistic and sacred purposes continued to evolve in regions such as Sicily, Florence, and Rome. Particularly in the Città Eterna, the body-reliquary—a type of wax sculpture representing the image of a recumbent martyr—was produced in the final decades of the 18th century. These sculptures were intended to house the relics of holy martyrs taken from the Roman catacombs.
The aim of this communication is to present the discovery of a work signed by the Sicilian artists Domenico Fasulo (1834–1920), a master of wax, and the sculptor Michele Tripisciano (1860–1913). The characteristics of this sculpture align with those of a body-reliquary, although the relics it once housed are now missing. Nonetheless, its discovery offers an opportunity to reflect on the continuity of wax sculpture for sacred purposes into the early 20th century, as well as to recover the legacy of both Sicilian artists, whose work is now housed in an important private collection in Mexico City.
Beltran Pardo Aldo, Giovanni MA, Autonomous University of Chihuahua
The anatomic ceroplastic and retrospective analysis of anatomy learning
This text addressed the anatomy study history, going through the different stages of its evolution and development, linked not only to its main nature as an ally of medical learning, but also the concept of the body in each era, having as a meeting point the development of anatomical ceroplastics in the 18th century. The circumstances that led to the elaboration of anatomical wax models and their diffusion throughout Europe and America, not only as a teaching tool but also as artistic exhibition pieces, both in museum and in traveling fairs.
Benitez Rangel, Daniela Abigail, Sanchez Ramirez C. Hazel, Palace of the School of Medicine, UNAM
The creative response, Pedagogy through art, taking as a sample the 19th century Wax room of the Old Palace of the Inquisition, current Museum of Medicine of the UNAM
This presentation arises from the experience as volunteers and guides at the Palace of the Old School of Medicine, headquarters of the Museum of Mexican Medicine, with the purpose to reflect on the challenges and didactic possibilities of one of its most shocking exhibits: the pieces of anatomical, pathological, and ophthalmic ceroplasty of the 19th century.
Bessi, Sara
The restoration of the wax Pietà by Massimiliano Soldani Benzi from Ginori Museum. Research and experimentation on synthetic formulations and cold-fill materials for the reconstruction of losses in ceroplastics.
This study was carried out as part of a thesis project at the Opificio delle Pietre Dure, that was focused on the restoration of the wax Pietà executed by the Manifattura Ginori around 1745, using the original plaster molds made by Massimiliano Soldani Benzi. The aim of the research was to investigate the issue of reconstruction of losses in wax sculpture, particularly in ceroplastic works composed of mixed materials—such as wax, plaster, and metal—which are inherently incompatible, as exemplified by the Pietà.
Carraro, Sabina, MA, head of the Medical Collection and the Human Remains Collection at the Institute of Evolutionary Medicine at UZH and the Wax Moulages Collection at UZH and USZ.
Stierlin, Johanna, MA, is a conservator-restorer at the Medical Collection at the Institute of Evolutionary Medicine at UZH and at the Wax Moulages Collection at UZH and USZ. Additionally she works for the Institute for Medical Education in Berne.
Wax Models and Human Remains: Tracing a Compelling History
The Medical Collection Inselspital Bern and the collection of the Institute for the History of Medicine at the University of Bern contain eleven models from the Vasseur-Tramond-Rouppert workshop, which are permanently stored in the Zurich Wax Museum. The models were made in Paris during the second half of the 19th century until the beginning of the 20th century. Most of them were made of colored wax on a base of human bone preparations. For the first time in their history, their origin, history and manufacturing techniques were thoroughly analyzed in 2023. The use of human bone material had aesthetic and constructive functions. In combination with various wax processing techniques, anatomically accurate and durable models were created for teaching and research, which still have educational value today. The manufacturers developed highly qualified procedures in both anatomical preparation and ceroplastics and made the Tramond workshop internationally renowned. When examining the models, an attempt was also made to trace the stories of the people whose bones or body casts were used.
Human remains used for this type of wax model are often difficult to recognize as such. Therefore, these models require particularly careful handling and an awareness of ethical and legal issues and must be handled by conservation specialists.
Carreta, Jorge Augusto, Faculdade de Medicina, Universidade de São Paulo, Brasil
The uses of ceroplastics at the Faculty of Medicine of University of São Paulo
This presentation aims to discuss the importance of the wax models used at the Faculty of Medicine of the University of São Paulo. The moldings (or moulages), depicting diseases, were produced by the artist Augusto Esteves between the 1930s and 1950s. We investigate the role played by the wax models in teaching of dermatology and forensics. Furthermore, we intend to understand the relationship between the wax models and the project to build a tropical nosology in dermatology, essential strategy to the consolidation of this medical specialty in São Paulo.
Chadwick Irarrázaval María Teresa, (Tere Chad), MA, Chilean independent artist and curator, London
Wax role in public art: a malleable media facilitating dialogues
Thomas London Day School invited Tere Chad to work on her first permanent public Art commission at their new development: Atlantic House (Royal Borough of Kensington and Chelsea, London, 2024). Due to the challenges behind displaying permanent art in a conservation area, Tere Chad has undertaken thorough research including literature review, experts’ interviews and mentorship, ethnographic research and a public engagement programme. This paper explores wax not only as a functional media to create permanent public art, but also as a media that in its malleable nature facilitates dialogue between the artist and the diverse stakeholders.
TLDS Atlantic House, compromises 2 buildings, Lytham House (1850 – 1879) which used to be the studio of the Victorian painter Richard Ansdell - known for his animal paintings- and Atlantic House (1940 – 1999). The permanent public art will combine animals referencing Lytham House with a post-war sculptural style of robust and undefined silhouettes referencing Atlantic House. The project compromises diverse types of stakeholders: the owners of the school, the developer, the architects, the builders, the pupils, the teachers, the council and the neighbours. Working with our hands is a slow process, which requires total embodiment driving you into a meditative state. This research explores how a substantial number of hours modelling wax with your hands can instigate divergent reflection, thus optimising negotiating skills during the decision-making process of permanent public art.
Corti, Claudia, Retired, former curator of the anatomical wax collection of “La Specola” Museum, SMA, University of Florence, Florence, Italy
The plaster cast collection of the “La Specola Museum” in Florence
The Laboratory of Ceroplastics at the “La Specola” Museum, founded by Felice Fontana (1730-1805), the first director of the “Imperial Regio Museo di Fisica e Storia Naturale”, with the support of Grand Duke Pietro Leopoldo, operated from 1771 for around a century, officially closing in 1893. The collection of anatomical wax models at the 'La Specola' Museum was intended to provide an accurate representation of the human body, forming a three-dimensional encyclopedia of human anatomy. The wax models of animals and plants were also made with the utmost attention to detail. A large number of plaster casts were produced to create all the models. The collection of plaster casts comprises more than 1,400 pieces, mainly negative and life-size models. It includes human organs and anatomical parts, botanical and zoological models; busts of famous people and positive and negative medallions of famous scientists were also produced in plaster. The collection also includes plaster capitals, shelves and vases with marble decorations in the neoclassical style.
Duffour Vivanco, Rosana, Museo Casa de las Mil Muñecas
The Wax Doll in Mexico: Challenges in Documenting Its Development and Cultural Significance
This lecture will explore the role of the wax doll within the broader context of dolls in Mexico and worldwide. It will examine the historical challenges of tracing accurate information about its development and emphasize its cultural and historical relevance. The talk will highlight the wax doll’s contribution as a distinctive element of Mexican tradition, as well as its value in both private collecting and the construction of national cultural identity.
Galassi Francesco Maria, Dr., MD, University of Lodz, Poland Varotto Elena, Dr., Flinders University, Australia.
The Origins of Wax Modelling in the Ancient World and the Role of Roman Funerary Masks
This paper investigates the origins of wax modelling in antiquity, focusing on its use in Roman funerary culture and the symbolic role of imagines maiorum—ancestral wax masks—within elite households. While wax had diverse applications in the ancient world, from votive figures in Greek sanctuaries to mummification practices in Egypt, it was in Republican Rome that it acquired a unique political and commemorative function. Preserved in the atrium of patrician homes and paraded during funerals, these masks were not merely portraits of the dead but visual anchors of family identity, social continuity, and political legitimacy.
Drawing on ancient sources such as Polybius and Pliny the Elder, as well as on archaeological and iconographic evidence, the paper traces the technical and ideological development of wax modelling. It argues that the Roman use of wax masks reflects a distinct conceptualization of memory and personhood, one in which the dead continued to participate in the public life of the living. A pivotal example is the funeral of Julius Caesar in 44 BC, where a wax effigy of the dictator, bearing the wounds of his assassination, was displayed on a rotating platform during the public oration—an innovation that not only stirred the Roman crowd but also marked a turning point in the use of wax for political spectacle.
The paper situates this phenomenon within a broader Mediterranean context, considering earlier and parallel uses of wax in Egypt, Etruria, and Hellenistic Asia Minor, while also exploring its influence on later artistic traditions. Ultimately, it highlights how the malleability of wax—both materially and symbolically—enabled Romans to construct and manipulate memory in ways that profoundly shaped their visual and ritual culture.
Gramenzi Annagiulia, Dr. MD, Lodolo Elisa, BS, Orsini Ester, Dr. BS, Manzoli Lucia, Prof. MD, Ratti Stefano, Prof. MD.
Cellular Signalling Laboratory, Anatomy Center, Department of Biomedical and Neuromotor Sciences (DIBINEM), Alma Mater Studiorum-University of Bologna, Bologna, Italy.
Reading the body: the 19th century pygopagus conjoined twins at the “Luigi Cattaneo” Collection between wax, bone and CT scans.
Conjoined pygopagus, from the Greek pygē (buttocks) and pagos (fixed or joined), is a subtype of ischiopagus twins and represents an extremely rare condition characterized by fusion at the sacral region. The “Luigi Cattaneo” Anatomical Wax Collection of Bologna preserves a rare 19th-century wax model of pygopagus female twins, fused at the sacral and gluteal regions, which stands out for its anatomical precision and didactic value. Produced in the first half of the 19th century, as part of the flourishing Bolognese tradition of ceroplastics, this anatomical wax was intended for both teaching and demonstration purposes. What makes this model particularly remarkable is the presence, in addition to the ceroplastic figure, of the natural skeleton and a preserved portion of intestine, all accompanied by a detailed Latin anatomical description written in 1833 by Francesco Mondini, physician and professor at the University of Bologna. These elements provide insight not only into the congenital morphology but also into the educational and scientific practices of 19th-century anatomical study and offer a unique opportunity for comparative analysis between organic remains and ceroplastic interpretation. For the purpose of our study CT scans were acquired for all components—wax, skeleton, and visceral preparation—and historical anatomical texts were transcribed, translated, and studied. A key aim was to correlate the radiological findings with the historical descriptions and to revisit this wax figure through the lens of contemporary medical knowledge and historical museology. This integrated, interdisciplinary approach—combining medical imaging, historical texts, and anatomical modeling—highlights the scientific and educational value of ceroplastic collections. It demonstrates how historical specimens, when studied with modern tools, can still offer meaningful contributions to contemporary discussions on complex congenital anomalies, medical history, and museum curation.
Gutiérrez de la Barrera Marcos, Prof., Facultad de Medicina UNAM
Physical modelling for “sensorization” in human embryology learning and research
There are limited contemporary experiences in the systematical use of physical modelling in embryology learning and research in a Medical School academic department. In the context of using illustrations from textbooks and original scientific articles as the primary resource for visualization—usually offering only a single perspective on sensory integration—and considering the rapid advancement of digital visualization on screens, which remains limited for daily work in learning and research in embryology, the implementation of a hands-on and participatory approach to creating physical models, both by instructors and students, of various embryological structures and processes offers a much richer sensory experience than visualization alone. This approach can be a valuable tool for conceptualizing embryology, both for medical students and researchers working on specific embryological issues.
Here we propose a framework for the organization of the available evidence and a practical route for the research necessary for its development and for its practical implementation.
Hernandez Flores Norma Alicia, Independent artist, Mexico
The poetics of encaustic
To speak about poetics, it is necessary to think about a language. What, then, is the language of beeswax?
What does it express visually, and how does it express it to maintain the taste and interest in beeswax in art? To speak from this language, it is necessary to focus on what beeswax evokes in us, on the symbolic content within the encaustic work process, and on the metaphorical.
Hernandez Viquez, Rafael, Independent researcher and collector
The wax masks in Mexican popular traditions
Wax masks in folk dances likely appeared in the second half of the 19th century, although this material was already used in ancient Mexico. It was not until the French intervention that European techniques of waxwork were implemented in the creation of masks, as a way to add more realism to the personification of the invaders. The integration of foreign characters into popular and religious festivities took root in sectors of the population that have maintained them to this day. Recently, there has been innovation in characters and elements in the wax masks, as a way to generate an identity among the different populations.
Koka, Karen, Mayo Clinic, Rochester, USA
The Mayo Clinic Wax Model Collection: Updates on Research
The Mayo Clinic wax model collection was created by an in-house team of sculptors and artists from 1924 to 1983. They were used for display at medical meetings and in the Mayo Medical Museum to depict normal, pathological and traumatic conditions; dermatological diseases, physical anomalies, organs, anatomical structures and parts of the body, pathological specimens and farm accident cases. This presentation will update the status of the Mayo collection including recent studies of neurosurgical procedures that demonstrate a one-to-one relationship between published illustrations and models. It will also explore the role of the model making process in the early development of the field of maxillofacial prosthetics through the work of Mayo dentist and Museum Director, Dr. Arthur Bulbulian.
Leydi, Enrica, MA, University of Warwick
Antonio Serantoni: Life and Adventures of a Wax Modeller with His Creations
Antonio Serantoni (Milan, 17 January 1780 – Florence, 25 August 1837) was an Italian draftsman, engraver, and anatomical wax modeler. Today, he is best known for his engravings, particularly the anatomical plates in Paolo Mascagni’s Anatomia Universa (1823) and several botanical illustrations in Giorgio Gallesio’s Pomona Italiana (1817–1839). However, his life and, more significantly, his contributions to ceroplastics, particularly anatomical wax modelling, remain largely overlooked by scholarship. This paper seeks to reassess Serantoni’s career by drawing upon a broad range of historical sources, with particular attention to the neglected Biografia di Antonio Serantoni: disegnatore, incisore e lavoratore di cere anatomiche (1838) by Pietro Vannoni. Additionally, archival materials and contemporary journal articles, such as one from the Florentine Antologia Vieusseux (1832), will be examined to provide fresh insights into his biography and scientific endeavours.
On the one hand, a re-evaluation of Serantoni’s contributions to wax modelling provides a more nuanced understanding of the anatomical ceroplastic tradition in Florence, offering a local perspective. On the other hand, it sheds light on the circulation of these artefacts beyond Tuscany and Italy, emphasising the transnational network of patronage and knowledge exchange surrounding them. For example, records indicate that Serantoni travelled the peninsula with an Anatomical Venus featuring mechanical eyes, using it to raise funds for a second, reduced edition of Mascagni’s anatomical atlas. Furthermore, his wax works were commissioned not only within Italy but also internationally, including by institutions in America and Egypt.
In short, this paper will provide a novel perspective on Serantoni’s life, work, and network, offering insights into the epochal fascination for and international circulation of Italian anatomical waxworks in the early 19th century.
Lodolo Elisa, BS, Orsini Ester, Dr. BS, Manzoli Lucia, Prof. MD, Ratti Stefano, Prof. MD.
Modelling the Human Body: Art, Science, and the Bolognese Ceroplastic School
Although Gaetano Giulio Zumbo (1656–1701) is often credited as the pioneer of anatomical wax modelling, it was in Bologna that ceroplastic production developed into a systematic and institutionalised practice. This transformation was initiated by Cardinal Prospero Lambertini (1675– 1758), later Pope Benedict XIV, who commissioned the artist Ercole Lelli (1702–1766) to create eight full- scale anatomical figures and supported the establishment of the Camera della Notomia at the Accademia delle Scienze. The Bolognese tradition experienced a period of growth during the eighteenth century with the contributions of two figures, Giovanni Manzolini (1700–1755) and Anna Morandi Manzolini (1714–1774), who merged scientific inquiry with artistic innovation, contributing to the expansion and enrichment of the Bolognese tradition. In the nineteenth century, this tradition was continued by craftsmen and anatomists including Giuseppe Astorri (1785–1852), Cesare Bettini (1801– 1855), Francesco Mondini (1786–1844), Luigi Calori (1807–1896), and Cesare Taruffi (1821–1902), especially in the domains of normal anatomy and teratology. Their work resulted in collections of anatomical waxes and illustrations, many of which are preserved in the “Luigi Cattaneo” Anatomical Wax Collection, housed within the University Museum Network at the Anatomy Centre in Bologna. The Bolognese school distinguished itself from other centres—such as Florence—through innovations, including the integration of real skeletal elements within wax models. This internal scaffolding enabled an exceptional level of anatomical precision, confirmed through high-resolution computed tomography, using Italy's sole research-oriented scanner. Beyond their educational and artistic significance, these models offer valuable data on individual anatomical variation and pathological conditions and continue to support research in human evolution and genetics. The integration of ceroplastic modelling with bone, visual documentation, and textual records illustrates a comprehensive method of anatomical preservation and education. The Bolognese experience exemplifies the enduring value of combining art and science to advance medical knowledge.
Loy Francesco, Prof, Museum of Clemente Susini's anatomical waxes, Department of Biomedical Sciences, University of Cagliari, Italy Scientific value of the anatomical characteristics in the Clemente Susini’s wax models at the University of Cagliari.
Francesco Antonio Boi (1767-1855), professor of Human Anatomy at the University of Cagliari from 1799, during his sabbatical leave in Florence, received the order to buy some wax anatomical models by the Viceroy of Sardinia, Carlo Felice of Savoy (1765-1831). The collection was created by Clemente Susini (1754-1814), head modeller at La Specola Museum managed by Felice Fontana (1730-1805). To carry out the commission of Cagliari, Susini was free from the influence of Fontana. The original tag with the signature of the artist and the date are shown in all the wooden tables of the 23 showcases. All the models were made between 1803 and 1805.
The models reflect not only the artistic maturity of Susini but also his strong cooperation with the Sardinian anatomist Boi, who performed the human dissections himself. In fact, the models reflect the great ability of Boi in anatomical preparation.
The aim of the Cagliari waxes was to give relevant scientific information to medical students. In the showcases, specific regional anatomy with the relationship among the organs, as case XXI shows. Some organs were also partially sectioned. Moreover, blood vessels and nerves are accurately represented. Waxes also illustrate the relationship between anatomy and function, as in the position of epiglottis in case X and XI. Moreover, a great scientific relevance is the presence of some individual anatomical variations, which is important, also today, for clinical anatomy. Currently, the great scientific value associated to the excellent artistic quality characterizes the relevance of the anatomical waxes at University of Cagliari.
Luppi, Anna, Dr, Prof., Academy of Fine Arts of Florence, Italy
Resurrecting the lost art of Wax Modelling in an European Master's Degree
The proposal of an European Master degree in Wax Modelling aims to strengthen the links between Fine Art Studies and Scientific research by their mutual interest in the field of wax. That is in fact the raw material of an ancient tradition that nowdays is languishing in Florence- city that has seen the maximum flowering of this art. At the same time wax modelling shows a rebirth in the contemporary artistic scene and a renewed interest of new generations of students and teachers from several European Institutions.
This speech aims to arouse attention at a project enhancing, giving new life and strength to studies theoretical and practical around wax. A Master degree in Wax modelling may include classes of history of art and at the same time workshops in sustainable and strategic wax production, connecting and exploring different knowledge (History of Art, Sculpture’s techniques, Biology, Environment, Museology )with the partnership of different Universities or Research Centers. Perfectly embodying the most advanced needs of knowledge in the nowadays liquid society.
Ortega Rousset, Emiliano MFA, Art & Design Faculty, FAD, UNAM
Ceroplastic sculpture, invention and survival
This artistic research deals with the wax portrait as an identity image in institutional discourses. The human face is key to self- and other-identification (Lacan, 2009; Levinas, 2002), acting as a code of social recognition. In cultural industries, wax portraits subtly reflect national identities (Esparza and Fernández, 1994). Wax museums reinforce culturally biased norms, prompting an artistic investigation into the inability of the portrait to define national identity. The study addresses aesthetic estrangement in wax art, the decolonial concept of Ixiptla (Carreón, 2014), and the materiality of waxy bodies.
Peña Martín Ángel, Dr., Independent researcher
And the candle bloomed. An approach to the study of curly and flower candles in Spain
This research constitutes a first approach to the history of curly and flower candles in Spain, based on copious documentation, rescuing from oblivion the names of waxmakers, their chronology and production, contributing, in this way, to the knowledge of the Spanish ceroplastics. It is a field of study that has hardly been approached by historiography, so a rigorous study is necessary that avoids the problematic topics of the scarce bibliographical references.
Through various sources of information, such as industrial and artistic yearbooks, industry exhibitions, newspaper articles and commercial advertisements, we recover the memory of 19th century Spanish wax factories that were dedicated to artistic ceroplastic and whose specialty was curly and flower candles. Curly candles, sometimes decorated with talcum powder and ribbons, and flower candles that, at least from the beginning of the 19th century, were used to light processions and different religious celebrations, such as First Communion, masses of birth, offerings to saints, the sumptuous decoration of altars and the Candlemas festivity. Even small colored curly candles adorned and illuminated the home nativity scenes. These candles were used by all social classes, from the common people to the Royal Family. In addition to written sources, the artistic works of Francisco Asorey González, Julio Vila Prades and María Blanchard, among others, bear witness to this. Nevertheless, the use for which the flower candles became more popular, and which is the one that still survives in a more generalized way, is the adornment of the canopy pasos of the images of the Virgin Mary in the processions of Holy Week in Andalusia, giving volume to the candelabra with bouquets of different types of flowers.
Rojas Navarrete, Rosa María, Seminario Iberoamericano de las Artesania
"Wax Craft in Guanajuato: History and Contemporary Practice"
Wax craft in Guanajuato has become an art form based on a craft technique that dates back more than 300 years. It was introduced by Augustinian and Franciscan friars who arrived as part of the Spanish conquest. It is considered an intangible cultural heritage by UNESCO. These are cultural practices of the communities in the state that, while preserving pre-Hispanic roots, became intertwined with ritual celebrations and the Catholic religion. Today, it is recognized as national cultural heritage. The intangible cultural heritage of wax craft includes oral traditions, stories, and knowledge passed down from generation to generation. The social customs and festive acts of patron saint celebrations, funeral rites, societal and religious rituals are interwoven with knowledge of artisanal crafts. The making of wax figures for ceremonies, funeral offerings, and patron saint festivities continues to this day, as part of Day of the Dead altars and other expressions linked to specific rituals. Wax craft speaks to the Mexican cultural identity, as an expression of both identity and religious devotion, from rural villages and small towns to large cathedrals. It is considered a cultural legacy at risk of disappearing, with origins that date back to 1521, and includes artisanal techniques such as ceras escamadas, which derive from cera rizada, as a living expression of the religious culture shared by both countries.
Sellars Nina, Independent artist
Apprehension: the digital animation of Tramond
This paper examines the creation of artistic digital iterations of select anatomical waxworks produced by the Parisian atelier Maison Tramond, held in the collection of the Harry Brookes Allen Museum of Anatomy and Pathology at the Faculty of Medicine, The University of Melbourne, Australia. In addition to contextualising the historical and pedagogical significance of these specimens to the faculty, the study documents the international collaboration that enabled their contemporary digital reimagining. Artists, curators, photographers and 3D animators based in Melbourne and Mexico City worked together for this interdisciplinary project. One of the resulting digital animations, Apprehension, was featured in the exhibition, Anatomy & Beyond, presented for the 2021 opening of the new Riga Stradins University Museum of Anatomy, Latvia.
Zarzoso, Alfons, and Benitez, Nuria, Institución Milà i Fontanals de Investigación en Humanidades, CSIC, Barcelona, Spain
Institución Milà i Fontanals de Investigación en Humanidades, CSIC, Barcelona, Spain
The waxes of the Museo Anatómico de Sanidad Militar of Madrid. An evanescent story.
On February 7, 1889 the Military Hospital of Madrid suffered a devastating fire, and practically the entire contents of the Anatomical Museum of Military Health, which consisted of about 1,450 pieces, were destroyed. In this work we focus on the artist by training and military professional Enrique Zofio Dávila (1835-1915). Thanks to his particular skill in the handling of wax, Zofio enjoyed in his time a considerable artistic reputation. From 1864 he worked as a wax-sculptor at the Museo Anatómico de Sanidad Militar in Madrid, directed by Cesáreo Fernández Losada. And, in turn, from 1879 he was hired by the Diputación Provincial de Madrid to work as a sculptor under the orders of the physician José Eugenio Olavide at the Hospital de San Juan de Dios. According to the catalogue of the Museo Anatómico de Sanidad Militar, elaborated by the officer N. Amorós and published in Madrid in 1884, at least 150 pieces of that collection were wax models worked by Zofio. The collection grew in the following five years when, in 1889, the museum was engulfed by the flames that devastated the Military Hospital. Only a few pieces were recovered, and they travelled around the city until they were located in the Military Hospital of Carabanchel in 1901, where Zofio was in charge of the collection until his retirement in 1911, restoring 70 models that had been damaged and creating new ones. In 1901 Olavide died. Until that year, Zofio had been deeply involved in the production of dermatological waxes in the Hospital de San Juan de Dios, whose moulds and models -about 400 pieces- can be seen today in the Olavide Museum -an institution now threatened by closure, again endangering the survival of the collection. In this paper we are interested in showing the circulation of Zofio's waxes in the anatomical market of Madrid.