Although the historical connections between anatomy and the visual arts have been explored in quite some depth, especially in the cases of early modern anatomical drawing, sculpting, the making of wet preparations and wax modelling, the role of artistic techniques in the creation of corrosive preparations has received little attention thus far. This is remarkable, as there appear to be significant similarities between casting techniques like those employed by the influential artist Wenzel Jamnitzer (1508-85) and anatomical corrosive techniques. This paper explores the connections between the two domains and argues that, although artistic and anatomical techniques were often very similar in terms of the materials used, the skills that had to be developed to apply them successfully, and the visual results, there were distinct materialities and techniques in each realm. It is demonstrated that the creation of corrosion casts, particularly wax-based casts, required particular skills that were unlike others in the period. The paper does so by analysing the material and technical qualities of corrosive preparations from the period 1700-1900, and by comparing the results of this analysis with written instructions for making corrosive preparations and making casts from the same period in both anatomical and artist handbooks.

中文翻译：

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铸造生命，铸造死亡：早期现代解剖腐蚀制剂与艺术材料和技术之间的联系。

尽管已经深入探讨了解剖学与视觉艺术之间的历史联系，尤其是在早期现代解剖学绘画，雕刻，湿制剂的制作和蜡模型的制作，艺术技术在创建腐蚀性制剂中的作用到目前为止，很少受到关注。这是很了不起的，因为有影响力的艺术家Wenzel Jamnitzer（1508-85）所采用的铸造技术与解剖腐蚀技术之间似乎存在着巨大的相似之处。本文探讨了这两个领域之间的联系，并指出，尽管艺术和解剖学技术通常在所用材料，成功应用它们所需的技能以及视觉效果方面非常相似，每个领域都有不同的物质和技术。事实证明，腐蚀铸件，特别是蜡基铸件的生产，需要特殊的技能，这与当时的其他工艺不同。本文通过分析1700至1900年期间的腐蚀性制剂的材料和技术质量，并将分析结果与解剖和艺术家手册中同一时期的腐蚀性制剂和铸件的书面说明进行比较，从而做到这一点。