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| title | chunk | source | category | tags | date_saved | instance |
|---|---|---|---|---|---|---|
| Eduard Pernkopf | 2/4 | https://en.wikipedia.org/wiki/Eduard_Pernkopf | reference | science, encyclopedia | 2026-05-05T04:24:03.438676+00:00 | kb-cron |
== Atlas == At the time he was first hired as Hochstetter's assistant, he began putting together an informal dissection manual for students. He kept expanding it, and it became popular with the rest of the university instructors and the Austrian medical community. As he attained his full professorship he was offered a contract to expand it into a publishable book, and he eagerly accepted. He was to deliver three volumes. Pernkopf began his atlas in 1933. He worked 18-hour days dissecting corpses, teaching classes and discharging his administrative responsibilities while a team of artists created the images that would eventually be in the atlas. His days began at 5 a.m., when he left notes in shorthand for his wife to type. These became the descriptive text that accompanied the images. At the beginning four artists—Erich Lepier, Ludwig Schrott, Karl Endtresser and Franz Batke—worked with Pernkopf. Lepier, Pernkopf's first hire, had largely learned on his own after having to cut short his architectural studies at what is now Vienna University of Technology due to the death of his father, a circumstance similar to that which had shaped Pernkopf's career choice. The other three all had some degree of formal training. Outside of these four, some other artists, mostly family members such as Schrott's father and Batke's wife, contributed some pictures during the atlas's early years.
Pernkopf instructed them to paint the organs they saw in as much detail as possible, to make them look like living tissue in print. This was enabled by a special treatment of the paper used for watercolor images that allowed greater detail than that type of paint normally did. The only deviation from this high level of realism was the use of color, where Pernkopf instructed them to use brighter hues than those found in real cadavers so that a reader would better learn to recognize and distinguish key anatomical landmarks. Like Pernkopf, the four artists were also members of the Nazi Party and committed to its goals. They signaled this through the use of Nazi symbols in their work for the atlas. In his signature, Lepier frequently used the "r" at the end of his name as the basis for a swastika, and Endtrasser likewise used two Sig runes, the lightning-bolt insignia of the Schutzstaffel (SS), for the "ss" in his name. For illustrations he made in 1944, Batke similarly dated them by stylizing the two "4"'s as Sig Runes. The first volume of the atlas was published in 1937. It was large enough that it required two books, one devoted to anatomy in general and the other covering more specifically the chest and pectoral limbs. Four years later, in 1941, the second volume, likewise requiring two books, came out. It covered the abdomen, pelvis and pelvic limbs. That year the war intervened. With the exception of Lepier, ineligible for service because of his severe varicose veins, all the artists entered military service. Lepier nevertheless volunteered as an air raid warden, as did Batke when he returned home after being wounded and receiving the Iron Cross on the Eastern front. These duties interrupted their artistic work. A two-volume edition of the Atlas was published in five languages. The first American edition was published in 1963. A European scientific publisher, Elsevier, holds the copyright, but discontinued printing the Atlas on moral grounds. The volumes can still be obtained on eBay and Amazon, and are found in private collections.