Cast in bronze at the Johnson Atelier Foundry, in Hamilton, Barcelona is one of a series of 30 bells created by the worldrenowned Japanese-American artist Toshiko Takaezu, a longtime friend of Dr. and Mrs. Malamed. It is suspended from a simple wooden framework modeled on a traditional Japanese temple gateway and is rung by striking a wooden mallet at different points on its surface, producing a variety of rich tones. “On a trip to Barcelona, Toshiko could hear a church bell from her window,” says Mrs. Malamed. “It reminded her of the mellow sounds of the bell she had created, and when she returned home, she named the bell Barcelona.” 3. 3. The Muscle Men Andreas Vesalius T he facing side walls of the Great Hall are hung with two sequences of figures in successive stages of dissection. The 12 intricately detailed prints, six on each wall, are enlargements—approximately two and a half by five feet—of woodcut illustrations in Book 2 of De Humani Corporis Fabrica, by Andreas Vesalius. The Fabrica, which revolutionized the study and understanding of human anatomy, was completed in 1543, when the 28-year-old Vesalius was teaching at the University of Padua. At the time, the 1,300-year-old works of the Greek physician Galen were the principal reference for the study of human anatomy. However, Vesalius challenged Galen’s teachings, which were based on the dissections of animals. An exacting empiricist, Vesalius required human cadavers for his teaching and obtained them, in part, through the Church’s sanctioning of dissections of executed criminals. Known as The Muscle Men, these figures strike balletic poses against a Renaissance panorama of hills and houses. On the west wall, anterior views of the figure progress from right to left. First is the anterior view of an athletic male. Aside from the face, the skin is removed to show the outer layer of muscles. In subsequent panels, Vesalius strips muscles, layer by layer, leaving some attached. The final anterior view depicts a mostly skeletal corpse. The sequence on the east wall—a profile and five posterior views—advances from left to right. In the last panel, Vesalius illustrates the muscles of the sole of the foot, or a detached lower leg on the ground. When the medical school opened in 1966, The Muscle Men were displayed in the original teaching laboratories, at 4. 16 Robert Wood Johnson I MEDICINE