The eye of the doctor and the hand of the painter : painting healing in seventeenth-century leiden, a circulation of medical and pictorial knowledges

Au croisement de l’histoire des sciences et de l’histoire de l’art, cette thèse entend mettre en lumière les réseaux de savoirs — c’est-à-dire l’ensemble des connaissances picturales, médicales mais aussi sociales et religieuses — qui enserrent les corps malades peints dans la province de Hollande au XVIIe siècle. Ce travail se concentre plus particulièrement sur la ville de Leyde, célèbre depuis la fin du XVIe siècle pour sa faculté de médecine et son école de peintres, dont les tableaux regorgent de visites médicales et d’opérations chirurgicales. Jusqu’alors, peu d’études ont pris pour centre la ville et les réseaux de sociabilités savantes dans lesquels sont nés ces tableaux. À cet égard, je croise des sources diverses : iconographiques — tableaux, frontispices —, mais aussi textuelles — traités théoriques de médecine comme de peinture, recueils de consultations médicales, inventaires après-décès, catalogues de vente. Ainsi, en multipliant les échelles d’analyse, allant des lieux (faculté de médecine, maison particulière, atelier de peintre) aux individus (peintres, médecins, chirurgiens, malades) en passant par les objets et les pratiques (visite médicale, saignée, pose de ventouses, observation des urines), cette thèse entend faire cohabiter histoire de l’art et histoire de la médecine et du corps, en resituant les cultures visuelles que partagent artistes et soignants.At the crossroads of the history of science and the history of art, this thesis aims to shed light on the networks of knowledge — that is to say, all pictorial, medical, but also social and religious knowledge — which surround the sick bodies painted in the province of Holland in the 17th century. This work focuses more particularly on the city of Leiden, famous since the end of the 16th century for its medical faculty and its school of painters, whose paintings are full of medical visits and surgical operations. Until now, few studies have focused on the city and the scholarly social networks in which these paintings were born. In this respect, I come across various sources: iconographic — paintings, frontispieces — but also textual — theoretical treatises on medicine as well as on painting, collections of medical consultations, death inventories, sales catalogues. Thus, by multiplying the scales of analysis, ranging from places (faculty of medicine, private house, painter's studio) to individuals (painters, doctors, surgeons, patients) via objects and practices (medical visits, bloodletting, cupping, uroscopy), this thesis intends to bring together the history of art and the history of medicine and the body, by resituating the visual cultures shared by artists and carers

A suite of novel allenes from Australian melolonthine scarab beetles. Structure, synthesis, and stereochemistry

A suite of allenic hydrocarbons, previously unknown as a molecular class from insects, has been characterized from several Australian melolonthine scarab beetles. The allenes are represented by the formula CH3(CH2)nCH=.=CH(CH2)(7)CH3 with n being 11-15, 17 and 19, and thus, all have Delta(9,10)-unsaturation. These structures have been confirmed by syntheses and comparisons of spectral and chromatographic properties with those of the natural components. The enantiomers of (+/-)-Delta(9,10)-tricosadiene and Delta(9,10)-pentacosadiene were separable on a modified beta-cyclodextrin column (gas chromatography), and the natural Delta(9,10)-tricosadiene (n = 11) and Delta(9,10)-pentacosadiene (n = 13) were shown to be of >85% ee. Syntheses of nonracemic allenes of known predominating chirality were acquired using both organotin chemistry and sulfonylhydrazine intermediates, and comparisons then demonstrated that the natural allenes were predominantly (R)-configured