Ricerc@Sapienza

Art can serve as a powerful resource for medical students to both train the so
called “clinical eye” and to better understand disease [1]. Herein a paleopathological
analysis is performed on one of Ruben’s final artworks, “The Three Graces” (1630-
1635; oil on oak panel; 220.5 x 182 cm; Museo del Prado, Madrid). Rubens depicts
the three Graces beside a fountain, under a garland of flowers in a landscape. The
circular rhythm and elegant undulation are based on classical sculpture. Painted

This study is the result of a multidisciplinary team approach and focuses on a case of considerable historical and medical interest. The work originally stemmed from findings at a funerary site in the area of Casal Bertone in Rome (Italy), regarding an individual in a tomb identified simply by the number “75”. The skeletal alterations that were later discovered gave rise a debate among the members of the team.

The article is the first step of a research project aimed at investigating new perspectives and aspects of Morgagni’s role and work. His activities as a medical examiner and forensic doctor are yet to be truly discovered. Manuscripts, written by Morgagni when he was a forensic expert for the Health Magistrate of Venice, currently preserved at the City Library in Forlì (Italy), shed light on a new aspect of his cultural background.