v, Paris, 1649, p.24.For representations of Adam created by the Almighty out of a pile of dust, and of Eve created from a rib of Adam, see the earlier illustrations in the Nuremberg Chronicle.

As to the relation of anatomy to theology as regards to Adam's rib, see Roth, pp.
154, 155.
A new weapon was now forged: Vesalius was charged with dissecting a living man, and, either from direct persecution, as the great majority of authors assert, or from indirect influences, as the recent apologists for Philip II admit, he became a wanderer: on a pilgrimage to the Holy Land, apparently undertaken to atone for his sin, he was shipwrecked, and in the prime of his life and strength he was lost to the world.
And yet not lost.

In this century a great painter has again given him to us.

By the magic of Hamann's pencil Vesalius again stands on earth, and we look once more into his cell.

Its windows and doors, bolted and barred within, betoken the storm of bigotry which rages without; the crucifix, toward which he turns his eyes, symbolizes the spirit in which he labours; the corpse of the plague-stricken beneath his hand ceases to be repulsive; his very soul seems to send forth rays from the canvas, which strengthen us for the good fight in this age.( 322) (322) The original painting of Vesalius at work in his cell, by Hamann, is now at Cornell University.
His death was hastened, if not caused, by men who conscientiously supposed that he was injuring religion: his poor, blind foes aided in destroying one of religion's greatest apostles.