Andreas Vesalius, De humani corporis fabrica libri septem, Basel: ex. off. J. Oporini, 1543, (from left to right) pp. 192, 190, 187, 184, 181, 178, 170, 174, woodcut, leaf height 43 cm, N*.1.2(A).

It has been known for some time that the background landscape of the muscle figures in the Fabrica make two continuous series. While some scholars have noted that the houses with loggias and round bridges over rivers set against hills and forests are reminiscent of views in the Euganean Hills outside Padua, the inclusion of aqueducts, obelisks and pyramids suggest an imaginary scene with classicizing conceits, though perhaps inspired by the environs of Padua. This continuous landscape was not necessarily visible to the reader of the book, though the fact that Vesalius urges his readers to look back and forth through the images to appreciate the layers of the dissected body might suggest that seriality across these images was intended.

The figures also show some symmetry – for example, the second and third figures from the right and the third and fourth figures from the left.