The Miracle of the Transplantation of the Black Leg, a posthumous miracle performed by the saints Cosmas and Damian, is best known from the Golden Legend of Jacobus the Voragine (1265). From the early Middle Ages on, artists have been particularly inspired by De Voragine''s description of this miracle. Their works can be found in churches, monasteries, and musea, mainly in Italy, Spain, and Southern France. These artful representations have fascinated Kees Zimmerman, retired trauma surgeon, inspiring him to travel through Southern Europe exploring them. In this way he has gathered an impressive collection of photographs of paintings, sculptures, and other art and religious objects. This book  offers over 80 reproductions of representations of the Miracle of the Black Leg, quite a number of which have never been published before. Articles by art historians (De Jong, Fracchia), medievalists (Santing), and an Introduction by Zimmerman himself, shed light on different aspects of the legend. This book will therefore be of interest for art historians and medievalists, as well as those who wish to investigate the relationship between medicine and religion in the Middle Ages and the Early Modern Period. It offers, moreover, a wealth of beautiful pictures to be savored by all art lovers.

The Miracle of the Transplantation of the Black Leg, a posthumous miracle performed by the saints Cosmas and Damian, is best known from the Golden Legend of Jacobus the Voragine (1265). From the early Middle Ages on, artists have been particularly inspired by De Voragine''s description of this miracle. Their works can be found in churches, monasteries, and musea, mainly in Italy, Spain, and Southern France. These artful representations have fascinated Kees Zimmerman, retired trauma surgeon, inspiring him to travel through Southern Europe exploring them. In this way he has gathered an impressive collection of photographs of paintings, sculptures, and other art and religious objects. This book  offers over 80 reproductions of representations of the Miracle of the Black Leg, quite a number of which have never been published before. Articles by art historians (De Jong, Fracchia), medievalists (Santing), and an Introduction by Zimmerman himself, shed light on different aspects of the legend. This book will therefore be of interest for art historians and medievalists, as well as those who wish to investigate the relationship between medicine and religion in the Middle Ages and the Early Modern Period. It offers, moreover, a wealth of beautiful pictures to be savored by all art lovers.