Andreas Vesalius, De humani corporis fabrica libri septem, Basel: ex. off. J. Oporini, 1543, p. 372, woodcut, leaf height 43 cm, N*.1.2(A).

The seminal veins and organs were depicted placed inside a well-known statue in Rome, a torso in the papal collection of sculptures in the Belvedere Courtyard. It lacked the head, legs and arms but showed detailed muscular structure of the torso, seated on an animal skin, which led to its identification as Hercules. It was much admired by artists such as Michelangelo and Giambologna. Using this statue lacking limbs may well have been an artist’s conceit, given that he needed only to show the abdominal structure. It could also be interpreted as bestowing an authoritative status to the anatomical details displayed.

Vesalius explains the structures he has removed from view in order to show the origins and course of the seminal veins and arteries. The pubic bone was taken out in order to show the bladder and the glandular body. The ends of the ribs were also broken and turned upwards to show the concave liver. Here, Vesalius takes the opportunity to show a rare small branch of the vena cava connected to the left seminal vein (y) because it was not obscuring any other structure. This vein is not depicted elsewhere.

After the Fabrica, it became common for anatomical structures to be embedded in a classical statue – for example Valverde used the Medici Venus to show female anatomy.