Where anatomy is taken up in the expression of art, in the cosciousness of his finality the tragic horizon of man expands. According to Elizabethan people, microcosmos, or. Microcosmos, on the other hand, is an environment in which the human body and directly the human being are in focus. Macrocosmos is the large and vast environment that belongs to the world or universe as always. The Surrealist photographer Man Ray once owned The False Mirror, which he memorably described as a painting that sees as much as it itself is seen. But, according to the Shakespearean worldview, these concepts undergo minor changes. At that point, however, where the limits of Vesalius's anatomical conception in representing structure and function become manifest, the disruption of this unity eventually occurring in the end of the 18th century is already visible. The False Mirror is a surreal oil painting by René Magritte that depicts a huge human eye framing a cloudy, blue sky, the place normally occupied by the iris. Against this background the great tables of the skeletons and musclemen in the De humani corporis fabrica are studied considering the unity of art and anatomy in the visual media. In both their no longer ontological but epistemological approach when changing from the deductive to the inductive method, microcosm man is becoming an anthropological concept and thus assumes a new quality: a psychophysical unit with a transcendental dimension. Vesalius's conception of the reconstruction of the living body is discussed in the light of the macrocosm-microcosm-correspondance considering equally directed considerations of the humanist and reformator Philipp Melanchthon. As Frances Yates explains, summarizing from the Renaissance treatise Picatrix, a popular hermetic text, The primal truth is not a body, but it is One. The position of Andreas Vesalius and his most influential book De humani corporis fabrica in the history of medicine are reevaluated in the context of renaissance-humanism.
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