The whole site
Fifteen pages, four sections
This is the dense version: everything the site holds, in one place. The section pages are the edited way in.
| i | Sorted by what the tissue was doingHebra reclassified skin disease on pathological anatomy rather than on appearance, which turned a catalogue of surfaces into a discipline. |
| ii | The list that came beforeEarlier classification sorted by what a lesion looked like, which put unrelated conditions together and separated related ones. |
| iii | The ward as a classroomTeaching happened at the bedside in a very large public hospital, and the scale of the institution is what made the classification possible. |
| iv | Kaposi, after himHis successor described in 1872 the tumour that still carries his name, and the paper is a model of the school's method. |
| Section page: Sorted by what the tissue was doing |
| i | The atlas came out in pieces for twenty yearsIt was issued in parts by subscription over two decades, which is why complete sets are rare and why no two are quite alike. |
| ii | What a subscriber actually receivedLoose gatherings in paper wrappers, to be bound by the owner when the series eventually finished. |
| iii | Anton Elfinger, who drew themThe plates were drawn by an artist who also worked as a caricaturist, and the draughtsmanship is why they still read. |
| iv | Why photography could not do it yetEarly photographic processes could not render the colour and texture that distinguishes one condition from another. |
| Section page: The atlas came out in pieces for twenty years |
| i | The stone and the pressLithography prints from a drawn stone rather than a cut block, which is what made fine tonal work reproducible at all. |
| ii | Colour was added after printing, by handEach impression was coloured individually by workers following a master copy, which is why two copies of the same plate differ. |
| iii | The workshop behind the platePrinter, draughtsman and colourists were a trade, and their names appear in the imprint where anyone looks. |
| Section page: The stone and the press |
| i | The cabinet at the JosephinumVienna holds one of the great teaching collections, and the cabinets themselves are part of the object. |
| ii | How a cast is takenA mould taken from the body, filled with wax and painted from life — a process that recorded texture no print could carry. |
| iii | The conservators' benchWax is unstable, and keeping a nineteenth-century cast intact is continuous work. |
| iv | What a moulage was actually forIt let a student meet a rare presentation without a patient in the room, which was the entire teaching argument for making them. |
| Section page: The cabinet at the Josephinum |