Every Dead Thing

IV

He had a mind to be acquainted with your inside, Crispin.

Edward Ravenscroft

The Anatomist

45

IN THE MEDICAL SCHOOL of the Complutense University of Madrid there is an anatomical museum, founded by King Carlos III. Much of its collection derives from the efforts of Dr. Julián de Velasco in the early to mid-nineteenth century. Dr. Velasco was a man who took his work seriously. He was reputed to have mummified the corpse of his own daughter, just as William Harvey was assisted in his discovery of circulation by his decision to autopsy the bodies of his own father and sister.

The long rectangular hall is arrayed with glass cases of exhibits: two giant skeletons, the wax model of a fetal head, and at one point, two figures labeled despellejados. They are the “flayed men,” who stand in dramatic poses, displaying the movement of the muscles and the tendons without the white veil of the skin to hide it from the eye of the beholder. Vesalius, Valverde, Estie

And the figures they created were more than merely anatomical specimens: they served, in their way, as reminders of the flawed nature of our humanity, a reminder of the body’s capacity for pain and, eventually, mortality. They warned of the futility of the pursuits of the flesh, the reality of disease and pain and death in this life, and the promise of something better in the next.

In eighteenth-century Florence, the practice of anatomical modeling reached its peak. Under the patronage of the Abbot Felice Fontana, anatomists and artists worked side by side to create natural sculptures from beeswax. Anatomists exposed the cadavers, the artists poured the liquid plaster, and molds were created. Layers of wax were placed into them, with pig fat used to alter the temperature of the wax where necessary, allowing a process of layering that reproduced the transparency of human tissue.

Then, with threads and brushes and fine point, the lineaments and striations of the body were reproduced. Eyebrows and eyelashes were added, one by one. In the case of the Bolognese artist Lelli, real skeletons were used as a frame for his wax creations. The emperor of Austria, Joseph II, was so impressed by the collection that he ordered 1,192 models, to promote medical teaching in his own country. By contrast, Frederik Ruysch, professor of anatomy at the Atheneum Illustre in Amsterdam, used chemical fixatives and dyes to preserve his specimens. His house contained an exhibition of the skeletons of infants and children in various poses, reminders of the transience of life.

Yet nothing could compare to the reality of the actual human body exposed to view. Public demonstrations of anatomization and dissection attracted huge crowds, some of them in carnival disguise. Ostensibly, they were there to learn. In reality, the dissection was little more than an extension of the public execution. In England, the Murder Act of 1752 provided a direct link between the two events by permitting the bodies of murderers to be anatomically dissected, and postmortem penal dissection became a form of further punishment for the criminal, who would now be denied a proper burial. In 1832, the Anatomy Act extended the deprivation of the poor into the next life by allowing the confiscation of the bodies of dead paupers for dissection.

So death and dissection walked hand in hand with the extension of scientific knowledge. But what of pain? What of the Renaissance disgust with the workings of the female body, which led to a particularly morbid fascination with the uterus? In the acts of flaying and anatomization, the realities of suffering, sex, and death were not far away.

The interior of the body, when revealed, speaks to us of mortality. But how many of us can ever bear witness to our own interiors? We see our own mortality only through the prism of the mortality of others. Even then, it is only in exceptional circumstances, in cases of war, or violent accidental death, or murder, when the viewer is a witness to the act itself or its immediate consequences, that mortality in all its deep red reality is made clear to us.

In his violent, pain-filled way, Rachel believed, the Traveling Man was trying to break down these barriers. In killing his victims in this way, he was making them aware of their own mortality, exposing to them their own interiors, introducing them to the meaning of true pain; but they also served as a reminder to others of their own mortality and the final, dreadful pain that would someday find them.

The Traveling Man crisscrossed the boundaries between torture and execution, between intellectual and physical curiosity and sadism. He was part of the secret history of mankind, the history recorded in the thirteenth-century Anatomia Magistri Nicolai Physici, which observed that the ancients practiced dissection upon both the living and the dead, binding condemned criminals hand and foot and gradually dissecting them, begi

And now the Traveling Man had come to write his own history, to offer his own blending of science and art, to make his own notes on mortality and to create a Hell within the human heart.

All this Rachel explained as we sat in her room. Outside, it had grown dark and the strains of music floated on the air.

“I think the blinding may be related to ignorance, a physical representation of a failure to understand the reality of pain and death,” she said. “But it indicates just how far the killer himself is removed from ordinary humanity. We all suffer, we all experience death in various ways before we die ourselves. He believes that only he can teach us this.”

“That, or he believes we’ve lost sight of it and need to be reminded, that it’s his role to tell us just how inconsequential we are,” I added. Rachel nodded her assent.

“If what you say is true, then why was Lutice Fontenot dumped in a barrel?” It was Angel. He sat by the balcony, staring out on to the street below.

“ ’Prentice work,” said Rachel. Louis cocked an eyebrow but stayed silent.

“This Traveling Man believes he’s creating works of art: the care he takes in displaying the bodies, their relation to old medical texts, the links with mythology and artistic representations of the body all point in that direction. But even artists have to start somewhere. Poets, painters, sculptors all serve an apprenticeship of sorts, formal or otherwise. The work they create during their apprenticeships may go on to influence their later work, but it’s usually not for public display. It’s a chance to make mistakes without criticism, to see what you can and ca

“But she died after Susan and Je

“He took Susan and Je