Fig. 9A Thomas Eakins’ painting of the Gross Clinic shows 1875 surgeons in street clothing using unsterile instruments.
Fig. 9B Eakins’ later painting of the Agnew Clinic shows 1889 surgeons using OR gowns and sterile instruments.
( continued from page 19) examination and highest general standing. That fall he pursued post-graduate studies in Germany with enrollment at the University of Berlin for five semesters. In 1869, he returned to Kentucky and commenced practice in Louisville with an office at 3rd and Green( Liberty), which he retained throughout his career. His substantial anatomic knowledge led to appointment as Professor of Anatomy at the Kentucky School of Medicine in 1870. He displayed superb teaching skills, and he was appointed to the same position at LMC, thus holding Chairs in the two Louisville schools simultaneously. His clinical skills were displayed in regular teaching at the Louisville City Hospital, where his rounds and amphitheater presentations were highly regarded( Fig. 6). At LMC, he rotated as Dean and Trustee in a shared administrative structure.
Dr. Kelly was a successful real estate investor, and his LMC colleagues turned to him for leadership in land purchase at 1 st and Chestnut, and construction of the permanent home for LMC. However, by the turn of the century, he became convinced that Louisville’ s medical schools needed to consolidate, and he became an advocate and architect of process. Following merger into one school, the U of L Medical Department, he continued his respected teaching, his strong practice and his professorship on the U of L faculty until 1918.
CONSTRUCTION OF THE SPECTACULAR LMC BUILDING
Dr. Clinton Kelly, with six other faculty members and their wives,
purchased the property at 1 st and Chestnut for $ 17,250, and supervised the $ 150,000 3-year( 1891-93) construction. They hired the prestigious Louisville architectural firm of Clarke and Loomis, who executed the design in Romanesque Revival style, inspired by the 11 th and 12 th century Romanesque churches of southern Europe. This style was revived in the 19 th century by Henry Hobson Richardson, the leading American architect of the post-Civil War era. The signature bell tower, the thick stone walls and columns, and the rounded arches of entrances, windows and interior vaults reflect that style( Fig. 7). The building was constructed of Bedford Stone Quarry limestone, and it visually projected the stability of LMC and authority of medicine’ s status.
Opening for classes on September 11, 1893, the facility was immediately recognized as a masterpiece, and was cited by Dr. Joseph Matthews in 1896 as“ one of the finest edifices devoted to medicine in the Union.” Kentucky Heritage Commission historian, Walter Langsam wrote in 1973,“ Architecturally, this is one of the finest buildings in Louisville … It is a notable example of that( Richardson Romanesque) style. The great gray walls slope gradually inward to enforce the sense of massiveness, lightened by exquisite carved ornament, and are highlighted by the bright red tile roof, which makes of the tower a city landmark. The superb massing of the various elements reflects the functional interior, creating on each side a balanced front, always leading the eye to the climax of the tower. The combination of height with solidarity, power with delicacy, aesthetic appeal with functionalism has seldom been more satisfactorily achieved …”
The structure was of four stories over a complete basement. The
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