Inquisitive eyes simply cannot resist chasing the intriguing lines of long, curved figures.

That aspect of Renaissance art now known as Mannerism exploited this famous axiom. Artists of the school also altered volume and space and twisted figures to further their excessive expressive style. Specific body parts such as limbs and torso were portrayed in dimensions out-of-proportion to the rest of the body to produce a sometimes disquieting but always a riveting effect. From Raphael to El Greco, whether exploring the depths of anguish or spreading the joys of ecstasy, the intrinsic sensuality of long, beautiful necks and extreme extremities became the modality used to portray the full spectrum of human emotion.

Could some manner of Mannerism have played a similar role in the design of Buxton’s 280 mm long Wiltse Retractor? Lanky, leptosome arms in their gazelle-like motion imbue the visual sense of probing. Their common curve carries them through an arc of 80° to reach 100 mm into the wound cavity, while the body of the instrument lies flat on the patient surface. Capable of excursions up to 120 mm, these graceful sentinels provide staunch support for the fine medical arts performed within their coverture.

Behold, the Enlightenment!

Sister Wendy, might another episode be waiting in the wings?

Talking Back, vol. 3, no. 1