The Woman with the Lily

An anatomy plate that holds a flower.

Work: from De Humani Corporis Fabrica Libri Decem
Maker: Adriaan van de Spiegel, plates after Giulio Casserius
Date: 1632
Held by: Published Frankfurt, 1632 · Wellcome Collection

Tabula III

Format

The full-resolution scan, colour-managed to the source — yours to print, study, and explore.

Size

$29.00

The story

Published after its author's death by Daniel Bucretius, and printed at Frankfurt in 1632 at the expense of Matthäus Merian, Adriaan van de Spiegel's anatomy carried copper plates drawn for the Paduan anatomist Giulio Casserius. Tabula III is the best known of them. A young woman stands in the open air with a wreath in her hair and a lily rising beside her, the wall of her abdomen folded back like the petals of a flower to show the child within. Classical poise and clinical lesson in one figure. Wellcome Collection.

See it on your wall

The plate, in the room it was made for

The Woman with the Lily, printed large and framed — in the consulting room, the study, the library. Every edition ships ready to become the piece the room is built around.

The Woman with the Lily framed on the wall

About this reproduction

A reproduction of from De Humani Corporis Fabrica Libri Decem — Adriaan van de Spiegel, plates after Giulio Casserius, 1632 — from the copy held by Published Frankfurt, 1632 · Wellcome Collection. The source. The work is centuries out of copyright and in the public domain.
Printed faithful to that source scan. We do not re-colour it, complete it, or interpret it; the plate you receive is the plate as it survives.
Printed to order on EMA matte art paper, 200gsm. Framed editions sit in a box frame under acrylic, with no mount.
Colour-managed to the source; the tone of the paper and the ink is the engraver’s, not ours.
Ships in 5–10 business days.
If it arrives less than perfect, we reprint or refund — your choice.

Why our plates cost more than a poster: a poster is a mass run on wood-pulp stock, colour-corrected to whatever flattered the press that day. This is one sheet, pulled for you, at a size where the engraver’s hand is visible — the linework, the tonal work, the lettering — on a matte sheet that shows every line without glare.

From the same hand