Anti aging quacks definíció

G en'rous by nature, matchless in thy skill, R ich in the art of medicine to heal; A ll bless thy gifts! The set for this show included a 'magnificent and most powerful Medico-electrical Apparatus' that filled ten rooms 3 and a Celestial Bed guaranteed to maximise sexual pleasure and to induce conception.

Actors included an Apothecary, Porters, and even a Goddess of Health who 'posed in various stages of undress' [4].

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At the centre of the 'show', playing a variety of roles, was the doctor himself, who claimed the power not merely 'of easing excruciating pains' but of 'snatching' the sick 'from the grave' Famous for his good looks and charming personality, he claimed to be thanks to his medical therapies in such good health that he would live for years.

The Temple also offered 'genuinely libidinous lectures', delivered by Graham, and a range of the doctor's publications, with titles such as: A Lecture on the Generation, Increase, and Improvement of the Human Species; Private Medical Advice to married Ladies and Gentlemen; to those especially who are not blessed with children; A Sketch: or, Short Description of Dr.

Or, a Serio-comico-philosophical Lecture.

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With this much on offer, it is hardly surprising that the Temple of Health soon attracted 'overflowing audiences'. In his Reminiscences, Angelo recalled carriages drawing up to the door of this modern Phaphos, with crowds of gaping sparks on each side, to discover who were the visitors; but the ladies' faces were covered, all going incog.

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At the door stood two gigantic porters, with each a long staff with ornamental silver heads. As Graham complained: 'the greatest hindrances have arisen from multitudes crowding into the Temple of Health!

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Graham drew on both Enlightenment and anti aging quacks definíció both occult and more orthodox traditions: he advertises his fictitious medical qualifications, [9] his membership of the society of Freemasons 42 and his inclination towards the Quakers 51 ; the painted windows of the Temple of Health locate his practice in a tradition that passes from Hippocrates and Galen to Boerhaave and Sydenham 42yet their iconography alludes to Paracelsus and the Rosicrucians 34the 'goddess of the pure elementary fire of the philosophers', the 'anima mundi' 43the Trinity, and the crucifixion.

To make matters still more complicated, Graham mediates between religious and Enlightenment medical-scientific traditions by drawing on aesthetics, in particular the religious sublime exemplified by Edward Young's Night Thoughts. As Fara argues, 'although denounced as a quack, many of Graham's treatments were the same as those being endorsed by the medical establishment in Paris'.

Graham's roles as therapist, showman, and quack may at first seem to place him at some distance from these cultural fields; yet Graham had ambitions that exceeded any narrow definition of the doctor's or the quack's role. Indeed, as I shall argue, by opening a space of theatrical illusion, and then troping that space as an indirect presentation of 'the materia prima, or the universal öregedésgátló termék 2020 principle of all things!

Seen in this wider context, Graham is a precursor of Romanticism, a link which in turn brings into focus some of the antecedents of that cultural movement in commerce, religion and medicine.

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Also of interest is the striking, and, for early twenty-first century audiences, counter-intuitive relation in Graham's medical therapies between ecstatic sexual experience, the religious desire for transcendence, and the modern individual. Rather than being anomalous, these relations exemplify an important strand of the eighteenth century's emerging consumer culture.

The most straightforward path to some of these broader issues is provided by Graham's own account of the Temple of Health, published in as A Sketch: or, Short Description of Dr. Graham's Medical Apparatus. My discussion will take as one of its guiding threads the role played by the sublime in Graham's therapies and in his discourse about them.

Graham's home and the Temple it houses stand at 'the centre of that noble pile of buildings, called the Royal Terrace, Adelpi'.

The buildings are 'elevated, extensive and superb', 'raised anti aging quacks definíció least a hundred feet from the surface of the river' and decorated with 'the most substantial battlements'. This sublime edifice stands midway between 'two of the largest and most anti aging quacks definíció bridges in the world'—Blackfriars and Westminster To the left, St. Paul's most magnificent, yet most solemn Cathedral.

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Burke writes that 'Succession and uniformity of parts', as seen anti aging fényterápiás rendszer example in 'the isles in many of our own old cathedrals', stamps 'on bounded objects the character of infinity'. As visitors enter the Temple, they find its rooms cluttered with ornaments, decorations, paintings and scientific equipment.

In Room No. IV there are 'three Aegytian Sphynxes', 'a five gallon brilliant cut decanter, with a curious glass cock for emitting water'; 'India fumigators for oriental essences'; a print of Queen Charlotte, the Prince of Wales, and the Princess Royal; 'an original painting by.

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Van Dyck'; 'instruments for restoring animation to persons apparently dead', 'Electrical jars and vases', 'a hundred little gilt frames exhibiting anti aging quacks definíció disease of the human eye', 'a perfectly exact artificial eye', and so on 19, 23, 25, This profusion establishes an aesthetic space at one remove from the 'real' world, in which objects, divided from their previous contexts and meanings, can be redeployed as signifiers of both Graham's knowledge and the 'elementary fire' he deploys.

During their passage through this space, visitors experience at least in Graham's account not one but a series of sublimes, arranged so that each sublime is displaced by a still more remarkable one.

On arriving at Room No. I, the spectator first catches sight of a superb electrical jar. The curious figures and ornaments of tin, copper, silver, and gold—the sweet lustre of the colours—snowy white,—rose colour,—crimson, yellow and purple;—and the divine brilliancy of the electric or celestial fire—in glorious assemblage united, strike with surprise, astonishment and delight, the eye and the heart, of every beholder.

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The pillars are in turn no more than entrée to the gigantic apparatus that dominates the room. Lying 'horizontally and lengthwise along the room' is a 'stupendous metallic conductor' that, Graham assures us, 'is no less than eleven feet long, and four feet in circumference; and is so far elevated from the floor, that a man of six feet four inches high could walk erect under the lowest part of it' 6.

At one end of the room is an enormous electrical cylinder connected to the prime conductor by the body of a fiery dragon, no less than six feet in length, double gilt, and of most exquisite workmanship. It's wings are expanded, its eyes blaze with electrical fire, it appears flying through the luminous atmosphere, towards the cylinder, and with its forked crimson coloured tongue it receives the lambent elementary fire.

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The patient sits on this throne, while Graham directs and moderates the electricity accumulated in the apparatus. In the unfolding sequence of sublime spectacles, this apparatus is itself surpassed by The Great Apollo Apartment, No. IV, which houses the Temple itself. As Graham expatiates: words can convey no adequate idea of the astonishment and awful sublimity which seizes the mind of every spectator.

The first object which striking the eye astonishes,—expands—and ennobles the soul of the beholder, is a magnificent Temple, sacred to health, and dedicated to Apollo. Electricity is generated by 'two cylinders of brilliant glass, and of prodigious size'. It is passed to the 'dome of the temple, by means of an astonishing fiery dragon', which Graham describes as 'a male, and fellow to the female in the great room below' I, electricity moves along a primarily horizontal axis.

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In the Temple, the primary movement is downwards: 'a large regular group of massive brass rods pierce the dome in the form of an inverted cone, which end anti aging quacks definíció a ball from which depends a magnetic crown'. Sometimes the crown is removed and tubes are attached from which drop, or rain, or run by the force of air, electricity, or magnetism, or by the united power of the three, aetherial essences, nourishing dews, vivifying attractive or repellent effluvia and influences—while from innumerable points flows a glory, or seeming beatification, from the celestial or elementary fire upon the patient.

So great a stream of electrical fire flows to anti aging quacks definíció pavilion 'that the patient, when the Apollo chamber is darkened, appears enthroned and environed with a visible species of celestial glory! On the one hand, the agents bind anti aging quacks definíció to each other and to the world; on the other hand, they link us to the divine.

The apparatus in Room No. I focuses on the former: electricity rushes in a 'torrent of fire' along a horizontal axis that passes through the dragon, along the prime conductor, until it emerges in 'prodigious torrents' to be harnessed and directed by Graham.

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In the Great Apollo Apartment, the second aspect of the life-force is prominent. The temple is a receptacle for the prima materia that flows into the temple from 'great reservoirs' in the dome.

The 'stupendous' prime conductor, as satirists were quick to point out, is a phallic form, [21] while the Temple and Pavilion in the Apollo Apartment are 'feminine' forms, receptacles designed to hold the life-force.

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In the Pavilion, the patient plays the role of foetus, lodged within a womb-like space filled with celestial fluid. On the throne, this same fluid is deployed to 'connect' and 'animate' individuals, thus vivifying social as well as individual health. These contrasting aspects of the same power, and the contrasting apparatuses that are their respective vehicles, support different therapies. I, the life-force has been concentrated and intensified by its passage along a narrow material body.

It can therefore be used to apply powerful 'electrical and magnetic shocks' that, sending a flood of electricity through the body, sweep away obstacles that divide the patient from life. Like the medicines lying on a shelf above the prime conductor, the patients' bodies are 'impregnated, exalted, and arbitrarily acted upon' by this force 6.