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12 Terrible Pieces of Advice for Pregnant Women

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When you’re pregnant, your body is in one very literal sense no longer completely your own. But in another, more uncomfortable sense, it’s become a public entity—because complete strangers think it’s absolutely fine to comment on what you’re eating, how you’re exercising (or not, in my case), even how you’re walking. We’ve compiled some of the best worst pregnancy advice through the ages. Please don't tell any pregnant women they shouldn't look at monkeys.

1. Wear a Corset!

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Women in the Victorian era were big corset-wearers. And despite explicit medical advice not to and concern that tight lacing could harm the developing fetus, not to mention all those soft lady organs in there, they often wore corsets into their pregnancies. Lucy Worsley, chief curator at Britain’s Historic Royal Palaces, in her book If Walls Could Talk, noted that, “It was hard to persuade women to take off their stays, even under the most extreme conditions.”

Manufacturers even marketed “maternity corsets,” a bit like the maternity girdles of today (Spanx even makes one). However, according to the University of Virginia’s Claude Moore Health Sciences Library page on body modification, maternal corsets were not designed to support the growing bump: “Instead, the corsets were designed to mask, even minimize, the size of the pregnant body.”

Take this with a bit of a grain of salt: Many people were born during the Victorian era (too many, if you ask Malthus), and certainly not all of them were ill-shapen monsters because their mothers wore corsets. Moreover, women who could went into “confinement” sometimes many weeks before the birth, shutting themselves away from the public eye; they probably didn’t wear corsets in those last months.

Though widespread corset use died out by the end of the Edwardian era, some women were fans of the corset in pregnancy even on into the 20th century, as the self-published manifesto of one Pat Carter, writing in the 1950s, attests. Carter, who lived in Titusville, Florida, had made something of a sensation of herself when she delivered her seventh child all by herself, aided only by a few whiskey highballs. In her manifesto on homebirthing, Come Gently, Sweet Lucinda, she recommended women wear boned corsets during pregnancy. “BONED, B-O-N-E-D,” she stressed. “This will really stop the little rascal.” From doing what, other than growing, is unclear. (Thanks to Randi Hutter Epstein, whose fabulous book, Get Me Out, is a treasure trove of birthing knowledge, for introducing me to Mrs. Carter. Other gems from Mrs. Carter include minimizing your calcium intake to soften your growing baby’s bones, making sliding out of the birth canal easier.)

2. Don't Eat!


Mrs. Carter was also a proponent of the starvation diet during pregnancy as a way to “prevent the pooch,” by which we assumed she means the growing fetus. She wasn’t alone, however, in recommending that pregnant women eat even less than they did when they were not pregnant: Randi Hutter Epstein found an article from the March 1956 McCall’s magazine advocating a strict diet for expecting mothers—to keep them thin. Of course, the 1950s weren’t exactly a time of sensible maternal advice; after all, some women were prescribed thalidomide for morning sickness, with disastrous results for the infant.

3. If You Do Eat, Avoid Hares' Heads!


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According to medieval lore, what the expecting mother ate would influence her child’s appearance. So, according to The Distaff Gospels of the 15th century, eating hares’ heads would result in a child with a split or harelip. Eating fish heads would produce a child with a trout pout, or a mouth “more turned up and pointed than normal.” And eating soft cheese would make your unborn boy’s penis small. Notably, eating soft and unpasteurized cheese is actually on the naughty list according to modern doctors, but less because of the penis-cheese link and more because of the listeria-cheese link.

The link between maternal consumption and infant characteristics persisted well into the 19th and 20th centuries; for example, women in around 1900 were told to avoid salty or sour foods, like pickles, to keep their baby from developing a “sour disposition.”

4. Avoid Cherries! (At Least When They're Thrown At You)

Don’t throw cherries at a pregnant woman. Another one from The Distaff Gospels, this claimed that “cherries, strawberries or red wine” thrown in the face of a pregnant woman would cause marks on the baby’s body. So don’t do it.

5. Don’t Attend Sporting Events!

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Watching sports might be too exciting for a pregnant woman, according to a pregnancy advice manual from the 1940s.

6. Don't Read!

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Sporting events weren’t the only exciting things to be avoided: Advice unearthed by Tommy’s Campaign, a UK charity that supports research on pregnancy, miscarriage and stillbirth, shows that women were told to avoid “exciting books, breathtaking pictures or family quarrels.”

7. Have A Smoke!

Doctors were aware of the ill effects maternal smoking had on the growing fetus from the 1920s; one early study noted that when the mother smoked, the fetal heartbeat rose precipitously, an effect they called “tobacco heart.” Later studies linked maternal smoking with low birth-weights, an increase in stillbirths and neonatal deaths. But the medical community tended to keep quiet about the links between adverse birth outcomes and smoking. In the 1940s and 1950s, tobacco companies ran ad campaigns where doctors endorsed their products. In fact, some advice implied that smoking was actually good for you and for the expecting mother because it was so relaxing. That’s why the indomitable Mrs. Carter recommends smoking.

It wasn’t until the 1960s that their findings on smoking and the impact on the fetus were made available to the wider public. And even then, it wasn’t until the 1980s that a nationwide campaign kicked off to get mothers to put out their cigarettes.

8. Don't Cut Your Hair!

There is a marvelous old superstition that persists to this day—ask any Russian baboushka or Southern grandma—that cutting your hair during pregnancy is a no-no. Exactly why isn’t entirely clear; some say that it’s because cutting your hair can make it drier or visiting the salon can harm your child somehow. Others, however, who are closer to the original purpose of the myth claim that you’re cutting your life-force. That’s right, Samson and Delilah style.

When women are pregnant, oftentimes their hair becomes shinier, grows faster, and is generally shampoo-commercial gorgeous (before it all falls out when the baby is about three to four months old). This is down to the hormones the pregnant body produces, which also slow your hair’s falling out; it also tallies with the notion that hair equals life force, so cutting it could harm the child. Obviously, there is no real link between the two, but it’s an old wives’ tale that’s really hung in there.

There is, however, one good non-medical reason not to cut your hair: Decisions made under the influence of pregnancy hormones may not be very good decisions. Vicki Iovine in The Girlfriends’ Guide to Pregnancy notes, “I know how simple and carefree a short, boyish bob cut can sound at about seven months, but pregnancy is not the time to try it out.”

9. Don't Have Sex With a Man With Stinky Feet!


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This advice is probably a bit barn door and escaped horse, but medieval women believed that if the baby was conceived while the man had “dirty and smelly feet,” according to The Distaff Gospels, then the child would be born with some inherited stink. If it was a boy, then “unpleasant breath,” and if it was a girl, “a stinky rear end.” Also, the first child conceived by two virgins is “bound to be simple.” Sorry.

10. Don't Raise Your Arms Above Your Head!

Even now, some women are advised by their grandmothers and other well-meaning older folk not to raise their arms over their heads, especially in the later months of pregnancy, or risk getting the baby’s umbilical cord wrapped around its neck. This is absolutely untrue, but if it does get you out of having to do things like hang clothes on a line, then by all means.

11. Don't Look At Monkeys!


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Or parrots! There was a pervasive belief from antiquity on that what a pregnant woman looked at would be somehow manifest in her child. In 1858, the Archduchess Sophia, mother-in-law to Empress Elisabeth of Austria, wrote to her son the Emperor Franz Joseph to warn him about his pregnant wife’s love of animals: “I do not think Sisi ought to spend so much time with her parrots, for if a woman is always looking at animals, specially during the earlier months, the child may grow to resemble them.”

12. Use These Home Remedies to Avoid A Difficult Birth!


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“Difficult” labor was often fatal labor well into the 19th and 20th centuries, and still is in some parts of the world. To help women along before the advent of the C-section, the epidural, and the Ventouse, or even forceps, chloroform, and doctors who washed their hands, midwives had a number of tricks. According to the Trotula, a manual of women’s health of the 11th century, a woman in a difficult or not-progressing labor should be given an herbal bath, her “sides, belly, hips, and vagina be anointed with oil of violets or rose oil,” and rubbed vigorously; she should be encouraged to sneeze, usually with the judicious application of pepper, or taken on a slow walk through the house (that one is actually helpful). If that didn’t help, then there was always the good old tying a snakeskin around your hips or eating some butter with special, baby-producing words carved into it. Obviously, medieval birthing was a horrible crapshoot.
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If you've given birth, what's the silliest advice you received? I've found people cannot resist telling cat-owning pregnant ladies that their feline companion is a toxoplasmosis-carrying assassin.

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entertainment
15 Things You May Not Know About Close Encounters of the Third Kind
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Columbia Pictures

We are not alone. Here are a few facts about Steven Spielberg’s 1977 UFO classic, on its 40th anniversary.

1. IT WAS INITIALLY A VERY DIFFERENT FILM.

Spielberg’s initial story outline involved UFOs and shady government dealings following the Watergate scandal, which became a script entitled “Watch the Skies.” The idea involved a police or military officer working on Project Blue Book, the Air Force’s official study into UFOs in the 1950s and 1960s, who would become the whistleblower on the government cover-up of aliens. There were numerous rewrites—Taxi Driver scribe Paul Schrader even took a crack at it, penning a political UFO thriller titled “Kingdom Come” that Spielberg and the movie studio rejected—before the story we know today emerged.

2. IT’S NAMED AFTER LEGITIMATE UFO RESEARCH.


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Spielberg partly based his idea on the research of Dr. J. Allen Hynek, a civilian scientific advisor to Project Blue Book who eventually admitted that 11 percent of the study’s findings about unidentified flying objects could not be explained using science.

The title (which is never specifically explained in the movie) is actually derived from Hynek’s own alien close encounter classification system: A close encounter of the first kind is sighting of a UFO; the second kind is physical evidence to prove the existence of an alien; and the third kind is actual contact with alien life forms.

3. THERE’S A CAMEO FROM THE GODFATHER OF UFO RESEARCH.

Hynek, who also served as a technical advisor on the movie, makes an uncredited cameo in the final scene of the movie. You can spot him pretty easily—he’s the goateed man smoking a pipe and wearing a powder blue suit who pushes through the crowd of scientists to get a better look at the aliens.

4. NOBODY WANTED THE STARRING ROLE.

Richard Dreyfuss in Close Encounters of the Third Kind (1977)
Columbia Pictures

The director first offered the part of Roy Neary to actor Steve McQueen, who turned it down because he said he couldn’t cry on cue, something he saw as essential to the character. Spielberg then went to Dustin Hoffman, Al Pacino, Jack Nicholson, Gene Hackman, and James Caan who all turned him down as well before asking his friend Richard Dreyfuss, who previously worked with Spielberg on Jaws, to take the part.

5. BUT IT WASN'T THE MOST DIFFICULT ROLE TO CAST.

Spielberg approached French actors like Lino Ventura, Yves Montand, and Jean-Louis Trintignant to play Claude Lacombe—who was based on famous UFO researcher Jacques Vallée—before settling on director and sometimes-actor François Truffaut. The initially skeptical Truffaut, who was nervous about appearing in a big budget Hollywood movie, accepted the role because he wanted to compile research for a book about acting (he never did write the book).

6. MERYL STREEP COULD HAVE PLAYED ROY'S WIFE.

Many actresses—including a then-unknown Yale Drama School grad named Meryl Streep—auditioned for the part of Roy’s wife Ronnie, but he ultimately cast actress Teri Garr because he saw her in a coffee commercial and loved the way she was able to convey a wide range of emotions in a 30-second clip.

7. THEY SHOT IN A DISUSED AIR FORCE HANGAR.


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Spielberg wanted to shoot in real suburban locations rather than studio backlots, but the production had trouble finding locations. The biggest question: Where could Spielberg shoot the climactic canyon sequence with the mothership?

The production looked for huge indoor enclosures that would allow for the massive scale of the scene, though they only found ones with center support dividers that spoiled the openness Spielberg wanted for the UFO runway. The only location producers found without center dividers was a 300 foot by 300 foot disused hangar that had been used for dirigibles during World War II at Brookley Air Force base in Mobile, Alabama.

8. THE TEAM BOUGHT A HOUSE FOR THE PRODUCTION—AND SOLD IT FOR A PROFIT.

The Nearys' house, which is located at 1613 Carlisle Drive East in Mobile, was actually purchased by the production for $35,000 so they could do whatever they wanted with the interiors. It was later sold for $50,000 after production wrapped, netting a $15,000 surplus that went back into the film’s budget.

9. THE MEMORABLE 5-NOTE TONES TOOK A LONG TIME TO FIGURE OUT

Composer John Williams worked with Spielberg to come up with the movie’s distinct five-note musical method of communication between humans and aliens—which Spielberg partly based on the Solfège system of musical education—a year before shooting began.

Williams initially wanted a seven-note sequence, but it was too long for the simple musical “greeting” Spielberg wanted. The composer enlisted a mathematician to calculate the number of five-note combinations they could potentially make from a 12-note scale. When that number proved to be somewhere upwards of 134,000 combinations, Williams created 100 distinct versions, and they simply whittled the combinations down one by one until they had a winner.

10. SPIELBERG USED TRICKS TO GET THE PERFORMANCE OUT OF HIS CHILD ACTOR.


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Cary Guffey, who plays little Barry Guiler, had never acted before, so Spielberg set up ways to coax a performance out of the 3-year-old. To get a shot of Guffey reacting to the aliens first approaching the Guiler house, Spielberg slowly unwrapped a present for the young actor just off camera, making him smile. Guffey even exclaims “Toys! Toys!” in the final take.

To get the boy to react to the aliens offscreen, Spielberg had Guffey walk up to his mark where—unbeknownst to the little actor—two crewmembers were dressed as a gorilla and a clown standing behind cardboard blinds. When Guffey entered the kitchen, Spielberg dropped the first blind revealing the clown to scare him, and then dropped the other blind to reveal the gorilla, which scared him even more. The gorilla then took off his mask, revealing the film’s makeup man, Bob Westmoreland, who Guffey recognized, causing him to laugh and smile in the final take.

11. THE MOVIE NEARLY FEATURED VERY EARLY CGI.

Spielberg originally toyed with the idea of using computer generated images to create the aliens and their ships, even going so far as to have animator Colin Cantwell create a CGI test of three UFOs floating over a stadium. The single-shot test, which took three weeks to complete and was one of the first computer generated images ever created for a film, proved to be unfeasible for the whole movie—so the idea was dropped.

12. THERE WERE SOME UNORTHODOX IDEAS FOR CREATING THE ALIENS.

Spielberg wanted the aliens to be non-human beings that glided instead of walked, and he had a weird idea to pull it off: An orangutan dressed in a specially-made suit. For a screen test, the production team outfitted an orangutan in grey spandex and strapped it into roller skates. The orangutan immediately took off the skates and crawled to its owner, so a full test couldn’t be completed, and the team scrapped the idea. The majority of the small aliens in the final movie were played by local elementary school girls from Mobile in specially made grey suits and masks who were heavily backlit to create the final alien silhouette effect.

13. CLOSE ENCOUNTERS FEATURES A PRECURSOR TO E.T.


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To create the alien who bids farewell using the musical hand signals at the end of the film, Spielberg enlisted the help of Italian special effects artist Carlo Rambaldi, who designed a fully articulated steel, aluminum, and fiberglass animatronic puppet that Spielberg nicknamed “Puck.” Puck’s expressions were based on photos of Guffey. The puppet was operated by a crew of seven puppeteers, with Spielberg himself controlling the final articulation before the alien leaves to go to the mothership.

Puck would help inspire E.T. after Spielberg asked himself, “What if this little guy didn’t get back on the mothership?” Rambaldi would also go on to design the character of E.T.

14. SPIELBERG BET AGAINST HIS OWN MOVIE—AND REALLY CASHED IN.

Spielberg and his buddy George Lucas both had new movies coming out in 1977; Lucas’s was a little movie called Star Wars. Lucas thought his ramshackle space movie wouldn’t make back its budget, and he knew his friend’s new movie would break box office records just like Jaws had done, so he offered Spielberg a friendly wager. Both agreed to give the other 2.5 percent of the profits of their respective films. Lucas grossly underestimated his movie, which went on to become the second highest grossing movie of all time if adjusted for inflation (in comparison, Close Encounters is #71). The difference ended up being $40 million.

15. SPIELBERG DIDN'T LIKE THE VERSION THAT WAS INITIALLY RELEASED.

Spielberg wanted to release Close Encounters in the summer of 1978, which would have given him ample time to edit the film and finish its special effects—but Columbia Pictures, which was going through major financial troubles, insisted he have it ready for a November 1977 release, leaving the director with a final cut on a movie he didn’t feel was completely ready. 

Three years later, the company allowed Spielberg to “finish” the movie under one condition: That he show the inside of the mothership, which would give the studio’s marketing department an angle to sell this new version. The director capitulated, adding new scenes and cutting others to create a “Special Edition.” The director was unhappy with the scene, though, and later cut it for the Collector's Edition home video release.

ADDITIONAL SOURCES:Blu-ray special features; Close Encounters of the Third Kind: The Making of Steven Spielberg’s Classic FilmClose Encounters of the Third Kind Diary.

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History
10 Treasures From the New York Academy of Medicine Library
A urine wheel from Fasciculus Medicinae
A urine wheel from Fasciculus Medicinae
Courtesy New York Academy of Medicine Library

Tucked away on a side street near Central Park, the New York Academy of Medicine Library is one of the most significant historical medical libraries in the world. Open to the public by appointment since the 19th century, its collection includes 550,000 volumes on subjects ranging from ancient brain surgery to women's medical colleges to George Washington's dentures. A few weeks ago, Mental Floss visited to check out some of their most fascinating items connected to the study of anatomy. Whether it was urine wheels or early anatomy pop-up books, we weren't disappointed.

1. FASCICULUS MEDICINAE (1509)

The Fasciculus Medicinae is a compilation of Greek and Arabic texts first printed in Venice in 1491. While it covers a variety of topics including anatomy and gynecology, the book begins with the discipline considered most important for diagnosing all medical issues at the time: uroscopy (the study of urine). The NYAM Library's curator, Anne Garner, showed us the book's urine wheel, which once had the various flasks of urine colored in to help aid physicians in their diagnosis. Each position of the wheel corresponded to one of the four humors, whether it was phlegmatic, choleric, sanguine, or melancholic. The image on the left, Garner explains, "shows the exciting moment where a servant boy brings his flasks to be analyzed by a professor." Other notable images in the book include one historians like to call "Zodiac Man," showing how the parts of the body were governed by the planets, and "Wound Man," who has been struck by every conceivable weapon, and is accompanied by a text showing how to treat each type of injury. Last but not least, the book includes what's believed to be the first printed image of a dissection.

2. ANDREAS VESALIUS, DE HUMANI CORPORIS FABRICA (1543)

Andreas Vesalius's Fabrica
Frontispiece of Andreas Vesalius's Fabrica
Courtesy New York Academy of Medicine Library

Andreas Vesalius, born 1514, was one of the most important anatomists who ever lived. Thanks to him, we moved past an understanding of the human body based primarily on the dissection of animals and toward training that involved the direct dissection of human corpses. The Fabrica was written by Vesalius and published when he was a 28-year-old professor at the University of Padua. Its detailed woodcuts, the most accurate anatomical illustrations up to that point, influenced the depiction of anatomy for centuries to come. "After this book, anatomy divided up into pre-Vesalian and post-Vesalian," Garner says. You can see Vesalius himself in the book's frontispiece (he's the one pointing to the corpse and looking at the viewer). "Vesalius is trying to make a point that he himself is doing the dissection, he believes that to understand the body you have to open it up and look at it," Garner explains.

3. THOMAS GEMINUS, COMPENDIOSA (1559)

Flap anatomy from Thomas Geminus's Compendiosa
Courtesy New York Academy of Medicine Library

There was no copyright in the 16th century, and Vesalius's works were re-used by a variety of people for centuries. The first was in Flemish printer and engraver Thomas Geminus’s Compendiosa, which borrowed from several of Vesalius's works. The first edition was published in London just two years after the Fabrica. Alongside a beautiful dedication page made for Elizabeth I and inlaid with real gemstones, the book also includes an example of a "flap anatomy" or a fugitive leaf, which was printed separately with parts that could be cut out and attached to show the various layers of the human body, all the way down to the intestines. As usual for the time, the female is depicted as pregnant, and she holds a mirror that says "know thyself" in Latin.

4. WILLIAM COWPER, THE ANATOMY OF HUMANE BODIES (1698)

Illustration from William Cowper's The Anatomy of Humane Bodies
Courtesy New York Academy of Medicine Library

After Vesalius, there was little new in anatomy texts until the Dutch anatomist Govard Bidloo published his Anatomia humani corporis in 1685. The work was expensive and not much of a financial success, so Bidloo sold excess plates to the English anatomist William Cowper, who published the plates with an English text without crediting Bidloo (a number of angry exchanges between the two men followed). The copperplate engravings were drawn by Gérard de Lairesse, who Garner notes was "incredibly talented." But while the engravings are beautiful, they're not always anatomically correct, perhaps because the relationship between de Lairesse and Bidloo was fraught (Bidloo was generally a bit difficult). The skeleton shown above is depicted holding an hourglass, by then a classic of death iconography.

5. 17TH-CENTURY IVORY MANIKINS

17th Century Ivory Manikin
Courtesy New York Academy of Medicine Library

These exquisite figures are a bit of a mystery: It was originally thought that they were used in doctors’ offices to educate pregnant women about what was happening to their bodies, but because of their lack of detail, scholars now think they were more likely expensive collector's items displayed in cabinets of curiosity by wealthy male physicians. The arms of the manikins (the term for anatomical figures like this) lift up, allowing the viewer to take apart their removable hearts, intestines, and stomachs; the female figure also has a little baby inside her uterus. There are only about 100 of these left in the world, mostly made in Germany, and NYAM has seven.

6. BERNHARD SIEGFRIED ALBINUS, TABULAE SCELETI (1747)

Illustration from Bernhard Siegfried Albinus's Tabulae Sceleti
Courtesy New York Academy of Medicine Library

One of the best-known anatomists of the 18th century, the Dutch anatomist Bernhard Siegfried Albinus went to medical school at age 12 and had a tenured position at the University of Leiden by the time he was 24. The Tabulae Sceleti was his signature work. The artist who worked on the text, Jan Wandelaar, had studied with Gérard de Lairesse, the artist who worked with Bidloo. Wandelaar and Albinus developed what Garner says was a bizarre method of suspending cadavers from the ceiling in the winter and comparing them to a (very cold and naked) living person lying on the floor in the same pose. Albinus also continued the dreamy, baroque funerary landscape of his predecessors, and his anatomy is "very, very accurate," according to Garner.

The atlas also features an appearance by Clara, a celebrity rhinoceros, who was posed with one of the skeletons. "When Albinus is asked why [he included a rhinoceros], he says, 'Oh, Clara is just another natural wonder of the world, she's this amazing creation,' but really we think Clara is there to sell more atlases because she was so popular," Garner says.

7. FERDINAND HEBRA, ATLAS DER HAUTKRANKHEITEN (1856–1876)

Circus performer Georg Constantin as depicted in Ferdinand Hebra's dermatological atlas
Courtesy New York Academy of Medicine Library

By the mid-19th century, dermatology had started to emerge as its own discipline, and the Vienna-based Ferdinand Hebra was a leading light in the field. He began publishing this dermatological atlas in 1856 (it appeared in 10 installments), featuring chromolithographs that showed different stages of skin diseases and other dermatological irregularities.

"While some of the images are very disturbing, they also tend to adhere to Victorian portrait conventions, with very ornate hair, and [subjects] looking off in the distance," Garner says. But one of the most famous images from the book has nothing to do with disease—it's a depiction of Georg Constantin, a well-known Albanian circus performer in his day, who was covered in 388 tattoos of animals, flowers, and other symbols. He travelled throughout Europe and North America, and was known as "Prince Constantine" during a spell with Barnum's Circus. (The image is also available from NYAM as a coloring sheet.)

8. KOICHI SHIBATA, OBSTETRICAL POCKET PHANTOM (1895)

19th century Obstetrical Pocket Phantom
Courtesy New York Academy of Medicine Library

Obstetrical phantoms, often made of cloth, wood, or leather, were used to teach medical students about childbirth. This "pocket phantom" was originally published in Germany, and Garner explains that because it was made out of paper, it was much cheaper for medical students. The accompanying text, translated in Philadelphia, tells how to arrange the phantom and describes the potential difficulties of various positions.

9. ROBERT L. DICKINSON AND ABRAM BELSKIE, BIRTH ATLAS (1940)

Image from Robert Dickinson's Birth Atlas
Courtesy New York Academy of Medicine Library

Robert Dickinson was a Brooklyn gynecologist, early birth control advocate, and active member of NYAM. His Birth Atlas is illustrated with incredibly lifelike terracotta models created by New Jersey sculptor Abram Belskie. The models were exhibited at the 1939 New York World's Fair, where they became incredibly popular, drawing around 700,000 people according to Garner. His depictions "are very beautiful and serene, and a totally different way of showing fetal development than anything that had come before," Garner notes.

10. RALPH H. SEGAL, THE BODYSCOPE (1948)

The Bodyscope
Courtesy New York Academy of Medicine Library

This midcentury cardboard anatomy guide contains male and female figures as well as rotating wheels, called volvelles, that can be turned to display details on different parts of the body as well as accompanying explanatory text. The Bodyscope is also decorated with images of notable medical men—and "wise" sayings about God's influence on the body.

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