Plate 16 lays out, in calm sequential vignettes, the operative steps associated with the removal of tumours of the uterus, rendered as a surgical artwork rather than a portrait of a particular patient. Each figure isolates hands, instruments, and the draped abdomen, guiding the viewer through incision, exposure, and controlled manipulation with a measured, instructional clarity. The labeled scenes read like a visual manual, emphasizing method and precision over drama.
Attention is drawn to the tools themselves—forceps, clamps, and probing instruments—shown at work and, in one corner, diagrammed with a spare, almost catalog-like simplicity. The repeated presence of assisting hands suggests teamwork in the operating space, while the careful shading of fabric and flesh reinforces the period’s desire to turn complex gynecological surgery into something teachable and repeatable. Even without narrative text, the composition conveys the disciplined choreography of an operating theatre.
Printed in Paris and credited to the draughtsman at the bottom margin, this medical illustration sits at the crossroads of art history and the history of women’s health. For readers searching for historical surgical images, gynecology illustrations, or early medical diagrams of uterine tumour removal, the plate offers a stark glimpse into how knowledge was standardized and transmitted on paper. It is both a record of technique and a reminder of the human stakes behind every “figure” on the page.