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techbint, Flickr // CC BY 2.0
techbint, Flickr // CC BY 2.0

7 Famous Human Brains and Brain Collections You Can Visit

techbint, Flickr // CC BY 2.0
techbint, Flickr // CC BY 2.0

We may be biased, but we think the human brain is pretty special. All this week, mentalfloss.com is celebrating this miracle organ with a heap of brain[y] stories, lists, and videos. It all leads up to Brain Surgery Live With mental_floss, a two-hour television event that will feature—yes—live brain surgery. Hosted by Bryant Gumbel, the special airs Sunday, October 25 at 9 p.m. EST on the National Geographic Channel.

Scientists have been collecting human brains ever since the techniques to preserve them were perfected in the mid 19th century. These days, many of those collections languish in basements and back rooms—thanks to imperfect preservation, lack of funding, and the decreased need to study actual specimens in an age where we can scan the brains of living patients with sophisticated techniques.

Fortunately, a few of the world’s most interesting brains and brain collections are on view to the public. Some of these collections were amassed to study neurological issues, while others were put together in a failed attempt to correlate brain size with race, sex, and intelligence. (Despite what many scientists once thought, humans with larger brains aren’t necessarily more intelligent.) Below, seven collections to help you create your own brain-based travel itinerary:

1. EINSTEIN // MÜTTER MUSEUM

It seems fitting that you can see the brain of the man who became practically synonymous with the term during the 20th century: Albert Einstein. Since 2011, the Mütter Museum in Philadelphia has owned 46 slides of Einstein’s gray matter, stained with cresyl violet and mounted on glass slides. Neuropathologist Lucy Rorke-Adams donated them to the museum in 2011, after receiving them from a colleague in the 1970s. 

Ironically, Einstein might have balked at the idea of having his brain on display. He told friends and family he wanted to be cremated after his death, so no one would “worship at his bones.” Most of his body was cremated, but the pathologist on duty during his autopsy, a man named Thomas Harvey, decided to take the brain in order to study. He wanted to see if he could find any kind of neuroanatomical evidence of what make Einstein so brilliant. (Einstein’s family was furious, and Harvey only received retroactive permission to keep the brain for scientific analysis. He’s frequently been portrayed as a thief, but pathologists at the time often saved organs from autopsies.) Since then, it’s been a long, strange trip—and the research about whether Einstein’s brain had anything to do with his intelligence is still inconclusive. (Later this week we'll talk to Dean Falk, a researcher who studied Einstein's brain, about the evolution of the human brain.)  

2. PAUL BROCA’S SPECIMENS // MUSÉE DUPUYTREN

The Musée Dupuytren in Paris’ Latin Quarter is crammed to the ceiling with hundreds of skeletons, wax moulages of skin diseases, and organs floating in glass jars. It’s also home to two of the most famous brain specimens in the history of science.

In 1861, the eminent French surgeon and anthropologist Paul Broca was the first to prove the doctrine of cerebral localization—the idea that a particular part of the brain could be responsible for a particular function. Broca’s autopsies on two aphasic patients, a Mr. Leborgne and a Mr. Lelong, showed a link between lesions in the third convolution of the left frontal lobes and speech loss (patients with the lesions couldn’t form articulate speech, but only repeat a few basic words or syllables). Broca’s research paved the way for modern neuroscience, and the speech production center of the brain is now named Broca’s Area.

Today the brains of Leborgne and Lelong sit alongside the other eerie anatomical oddities at the Musée Dupuytren, housed in what was once a 15th-century refectory. Even Broca’s own brain is sometimes said to be inside the museum, but staff claim that’s not the case; the whereabouts of the scientist’s own brain seem to be something of a mystery. For now, visitors have to be content with seeing the brains of his most famous patients.

3. CHARLES BABBAGE // LONDON (TWO LOCATIONS)

Babbage's brain at the Science Museum in London. Image credit: Anne-Lise Heinrichs, Flickr // CC BY 2.0

English mathematician, inventor, and engineer Charles Babbage is often credited as the “father of the computer”—his Difference Engine No.1, invented in 1821, was the first successful automatic calculator, and his later “analytical engines” shared characteristics with today’s computers. Babbage is also frequently remembered for his work with Ada Lovelace, Lord Byron’s daughter, who some consider the first computer programmer.

Always a forward-thinker, Babbage also donated his brain to science. Today it’s on display in two places in London: half is at the Science Museum, and the other half at the Hunterian Museum in the Royal College of Surgeons. You can see a video of it here.

4. CORNELL BRAIN COLLECTION

The Cornell Brain Collection was assembled by the noted anatomist Burt Green Wilder, creator of Cornell University’s anatomy department and founder, in 1889, of the Cornell Brain Society, devoted to collecting the brains of "educated and orderly persons.” Wilder hoped to show how such brains differed from those of criminals, minorities, the mentally ill, and women. Research showed they didn’t—at least not in ways observable by 19th-century technology.

At its peak, the collection included hundreds of specimens. Today, while 70 unidentified brains are housed in a Cornell basement, eight identified specimens are on display at the university’s Uris Hall alongside text explaining their biographies. Notable items include the brain of Helen Hamilton Gardener, an author, activist, and civil servant who donated her brain intending to prove that women were just as intelligent as men—and that their brains could be just as big.

Wilder even donated his own brain to the collection, and it remains on display. Also on view: the brain of murderer Edward H. Rulloff, turned a minty green thanks to poor preservation techniques.

5. CUSHING CENTER BRAIN TUMOR REGISTRY

 For decades, the brains in Yale’s Cushing Center collection languished in the basement of the Harkness Dormitory, where breaking in to see them was a ritual among medical students. Today, the brains sit in a well-appointed display that cost $1.5 million to create—a somewhat rare concentration of resources for a brain collection, which these days often stay hidden in storage rooms.

The brains were collected by Dr. Harvey Cushing, a neuroscience professor at Yale and a pioneer of modern neurosurgery, who willed them to the school upon his death. The most famous specimen belonged to Leonard Wood, who served as the personal physician to two presidents as well as Army Chief of Staff. Cushing successfully removed a large tumor from Wood’s brain in 1910, ending his seizures—one of the few such successful operations at the time. Sadly, Wood died in 1927 after an operation to remove a second tumor.

The brains are also notable for being displayed with before-and-after photos of the patients—less harrowing and more fascinating than they sound. Cushing’s journals, surgical instruments, and other specimens complete the exhibit.

6.  PERU BRAIN MUSEUM

The little-known Brain Museum at the Institute of Neurological Science in Lima, Peru, contains close to 3000 specimens, many of which show the marked effects of Alzheimer’s, alcoholism, tumors, or stokes. One of the star brains belonged to someone who suffered from Creutzfeldt-Jakob disease, sometimes called “human mad cow disease,” and which has been caused by some tribes eating human brains as part of their funerary practices. (On the other hand, at least one tribe appears to have developed a genetic resistance to the disease thanks to its former brain-eating ways.) The museum has been collecting specimens since 1947 and is one of the few large collections of brains that’s regularly open to the public.

7. TRAUMATIC BRAIN INJURY EXHIBIT // NATIONAL MUSEUM OF HEALTH AND MEDICINE

The National Museum of Health and Medicine in Washington, D.C. holds eight different neuroanatomical collections—but the specimens are off-limits except for researchers with an appointment. However, if brains are your thing and you don’t have a PhD., you can still check out the museum’s Traumatic Brain Injury exhibit, which is open to the public. The exhibit features 30 specimens with a host of brain damage, including hemorrhages, blunt force trauma, and bullet wounds, as well as the surgical tools used to treat said injuries. It sounds fascinating, but maybe don’t visit right after lunch.

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


Columbia Pictures

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.


Columbia Pictures

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.


Columbia Pictures

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.


Columbia Pictures

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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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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