Musculoskeletal Anatomy
MVS 230 Faculty Curator: Michele Bird (School of Kinesiology)
On view: Winter 2024
Hendrick Goltzius, The Farnese Hercules, ca 1592, engraving on medium weight laid paper, Museum purchase made possible by friends of the Museum of Art, 1994/2.13
Like the students in the School of Kinesiology, European artists of the early modern period (approximately the fourteenth to eighteenth century) devoted time and attention to the study of human anatomy. Beginning in the Italian Renaissance, scientific knowledge of the body developed hand in hand with artistic innovations in representing perspective, depth, and volume as scholars gained more detailed understanding of the inner structures of the body through dissection of human corpses.
The attention to anatomical detail in artworks such as those on display for this installation present interesting puzzles to the highly trained eyes of the Kinesiology students. What appears correct in these depictions of the muscles and bones of these human figures? What appears wrong, and can we describe these errors in the advanced language of contemporary anatomical understanding? Throughout the semester, students in Movement Science 230 will closely examine these artworks and write detailed analyses of the artists’ representations of musculoskeletal anatomy.
Works included in this collection
Accession Number
1994/2.17
Title
The Farnese Hercules
Artist(s)
Jacob Bos
Object Creation Date
1562
Medium & Support
engraving on laid paper
Dimensions
18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);28 1/16 in x 22 1/16 in (71.28 cm x 56.04 cm)
Credit Line
Given in memory of Dr. & Mrs. Milton J. Goodfriend
Label copy
March 28, 2009
Jacob Bos, a Flemish printmaker active in Rome during the mid-1500s, created this engraving of the famous Farnese Hercules for Antoine Lafréry, an enterprising publisher who commissioned a number of accomplished engravers in Italy to reproduce works of antique sculpture and architecture. Lafréry capitalized upon the avid demand for such reproductive prints among artists and collectors by selling the prints either individually or a selection of them together in a portfolio known as the Mirror of the Magnificence of Rome.
Bos elected to depict the front of the Farnese Hercules, unlike Goltzius, who engraved the same statue 30 years later from the back. Bos’s version is more mechanically descriptive and less skillfully modeled than the later master’s, conveying comparatively little of the sculpture’s monumentality or three-dimensional form. The print succeeds, nevertheless, in capturing the essential appearance of a masterpiece that might be seen only once in a lifetime.
Subject matter
The engraving reproduces a statue that is itself a copy from the 3rd century CE of an original from the 4th century BCE. The monumental sculpture was unearthed in Rome in the 1540s, and quickly became one of the most famous and influential of all ancient sculptures. The statue was purchased soon after its discovery by Cardinal Alessandro Farnese and displayed in the family's residence in Rome, the Farnese Palace, until the late eighteenth century.
Physical Description
This engraving reproduces a colossal marble sculpture of Hercules leaning upon his club, which is draped with a lion skin. Bos carefully records the powerful musculature of the figure and sets the statue within a niche.
Primary Object Classification
Print
Primary Object Type
study
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1994/2.17
Title
The Farnese Hercules
Artist(s)
Jacob Bos
Object Creation Date
1562
Medium & Support
engraving on laid paper
Dimensions
18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);28 1/16 in x 22 1/16 in (71.28 cm x 56.04 cm)
Credit Line
Given in memory of Dr. & Mrs. Milton J. Goodfriend
Label copy
March 28, 2009
Jacob Bos, a Flemish printmaker active in Rome during the mid-1500s, created this engraving of the famous Farnese Hercules for Antoine Lafréry, an enterprising publisher who commissioned a number of accomplished engravers in Italy to reproduce works of antique sculpture and architecture. Lafréry capitalized upon the avid demand for such reproductive prints among artists and collectors by selling the prints either individually or a selection of them together in a portfolio known as the Mirror of the Magnificence of Rome.
Bos elected to depict the front of the Farnese Hercules, unlike Goltzius, who engraved the same statue 30 years later from the back. Bos’s version is more mechanically descriptive and less skillfully modeled than the later master’s, conveying comparatively little of the sculpture’s monumentality or three-dimensional form. The print succeeds, nevertheless, in capturing the essential appearance of a masterpiece that might be seen only once in a lifetime.
Subject matter
The engraving reproduces a statue that is itself a copy from the 3rd century CE of an original from the 4th century BCE. The monumental sculpture was unearthed in Rome in the 1540s, and quickly became one of the most famous and influential of all ancient sculptures. The statue was purchased soon after its discovery by Cardinal Alessandro Farnese and displayed in the family's residence in Rome, the Farnese Palace, until the late eighteenth century.
Physical Description
This engraving reproduces a colossal marble sculpture of Hercules leaning upon his club, which is draped with a lion skin. Bos carefully records the powerful musculature of the figure and sets the statue within a niche.
Primary Object Classification
Primary Object Type
study
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Jacob Bos
The Farnese Hercules
engraving on laid paper
18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);28 1/16 in x 22 1/16 in (71.28 cm x 56.04 cm)
Given in memory of Dr. & Mrs. Milton J. Goodfriend
The Farnese Hercules
engraving on laid paper
18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);18 ⅛ in x 12 ⅝ in (46.04 cm x 32.07 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);17 11/16 in x 11 15/16 in (44.93 cm x 30.32 cm);28 1/16 in x 22 1/16 in (71.28 cm x 56.04 cm)
Given in memory of Dr. & Mrs. Milton J. Goodfriend
Accession Number
1970/1.179
Title
Lamentation
Artist(s)
Bartolommeo da Brescia
Artist Nationality
Italian (culture or style)
Object Creation Date
1565
Medium & Support
etching and engraving on paper
Dimensions
10 ⅝ in x 7 11/16 in (26.99 cm x 19.53 cm);19 7/16 in x 14 ⅜ in (49.37 cm x 36.51 cm)
Credit Line
The Paul Leroy Grigaut Memorial Collection
Primary Object Classification
Print
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1970/1.179
Title
Lamentation
Artist(s)
Bartolommeo da Brescia
Artist Nationality
Italian (culture or style)
Object Creation Date
1565
Medium & Support
etching and engraving on paper
Dimensions
10 ⅝ in x 7 11/16 in (26.99 cm x 19.53 cm);19 7/16 in x 14 ⅜ in (49.37 cm x 36.51 cm)
Credit Line
The Paul Leroy Grigaut Memorial Collection
Primary Object Classification
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Bartolommeo da Brescia
Lamentation
etching and engraving on paper
10 ⅝ in x 7 11/16 in (26.99 cm x 19.53 cm);19 7/16 in x 14 ⅜ in (49.37 cm x 36.51 cm)
The Paul Leroy Grigaut Memorial Collection
Lamentation
etching and engraving on paper
10 ⅝ in x 7 11/16 in (26.99 cm x 19.53 cm);19 7/16 in x 14 ⅜ in (49.37 cm x 36.51 cm)
The Paul Leroy Grigaut Memorial Collection
Accession Number
1985/1.86
Title
Mars and Venus Surrounded by Nymphs and Putti
Artist(s)
Giovanni Jacopo Caraglio
Object Creation Date
circa 1530-1540
Medium & Support
engraving on cream laid paper
Dimensions
16 ½ in x 13 3/16 in (41.91 cm x 33.5 cm)
Credit Line
Museum Purchase
Label copy
March 28, 2009
Venus exposes and unmans Mars in this print, transforming Mavors armipotens (Mars, powerful in arms) into Mavors impotens. The goddess of love raises her right hand, commanding Cupid and some putti to disrobe the god of war. Stripped of the outward trappings of aggressive masculinity, the god’s vaunted maleness is revealed in its true, diminutive proportions. The Three Graces—goddesses of beauty, charm, and joy—crowd around Mars and Venus and witness the revelation, compounding the war god’s shock and embarrassment. This print was copied from a drawing by Rosso Fiorentino, who created it as an erotic joke for the famous writer and satirist Pietro Aretino (1492–1556). Soon after he executed the drawing, Rosso entered into the service of the French king Francis I (1494–1547), whose court at Fontainebleau delighted in titillating mythological images of men dominated by women, of transvestitism, and of cuckoldry.
Subject matter
Venus exposes and unmans the war god Mars in this print. The goddess of love, nude except for a girdle cinched around her torso, sits on a bed on the left with her back to us and raises her right hand to command that Mars be disrobed. The war god stands powerless before her as Cupid pulls off his shirt and putti toy with his armor and weapons. Stripped of the outward trappings of aggressive masculinity, the god’s vaunted maleness is revealed in its true, diminutive proportions. The Three Graces, goddesses of beauty, charm, and joy, crowd around Mars and Venus and witness the revelation.
Physical Description
The nude figures of four women, a man, a winged boy, and numerous putti stand in front of a curtained bed. The man stands near the center of the crowd and gasps, apparently in shock, as his jacket is pulled off by the young boy behind him. The woman seated on the bed beckons toward the man.
Primary Object Classification
Print
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1985/1.86
Title
Mars and Venus Surrounded by Nymphs and Putti
Artist(s)
Giovanni Jacopo Caraglio
Object Creation Date
circa 1530-1540
Medium & Support
engraving on cream laid paper
Dimensions
16 ½ in x 13 3/16 in (41.91 cm x 33.5 cm)
Credit Line
Museum Purchase
Label copy
March 28, 2009
Venus exposes and unmans Mars in this print, transforming Mavors armipotens (Mars, powerful in arms) into Mavors impotens. The goddess of love raises her right hand, commanding Cupid and some putti to disrobe the god of war. Stripped of the outward trappings of aggressive masculinity, the god’s vaunted maleness is revealed in its true, diminutive proportions. The Three Graces—goddesses of beauty, charm, and joy—crowd around Mars and Venus and witness the revelation, compounding the war god’s shock and embarrassment. This print was copied from a drawing by Rosso Fiorentino, who created it as an erotic joke for the famous writer and satirist Pietro Aretino (1492–1556). Soon after he executed the drawing, Rosso entered into the service of the French king Francis I (1494–1547), whose court at Fontainebleau delighted in titillating mythological images of men dominated by women, of transvestitism, and of cuckoldry.
Subject matter
Venus exposes and unmans the war god Mars in this print. The goddess of love, nude except for a girdle cinched around her torso, sits on a bed on the left with her back to us and raises her right hand to command that Mars be disrobed. The war god stands powerless before her as Cupid pulls off his shirt and putti toy with his armor and weapons. Stripped of the outward trappings of aggressive masculinity, the god’s vaunted maleness is revealed in its true, diminutive proportions. The Three Graces, goddesses of beauty, charm, and joy, crowd around Mars and Venus and witness the revelation.
Physical Description
The nude figures of four women, a man, a winged boy, and numerous putti stand in front of a curtained bed. The man stands near the center of the crowd and gasps, apparently in shock, as his jacket is pulled off by the young boy behind him. The woman seated on the bed beckons toward the man.
Primary Object Classification
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Giovanni Jacopo Caraglio
Mars and Venus Surrounded by Nymphs and Putti
engraving on cream laid paper
16 ½ in x 13 3/16 in (41.91 cm x 33.5 cm)
Museum Purchase
Mars and Venus Surrounded by Nymphs and Putti
engraving on cream laid paper
16 ½ in x 13 3/16 in (41.91 cm x 33.5 cm)
Museum Purchase
Accession Number
1954/2.54
Title
Study of a Male Nude with Floating Drapery
Artist(s)
Object Creation Date
1562-1638
Medium & Support
pen, brown ink and gray wash on laid paper
Dimensions
12 1/2 x 7.9 in. (31.59 x 20.16 cm);12 1/2 x 7.9 in. (31.59 x 20.16 cm);19 1/4 x 14 3/8 in. (48.89 x 36.51 cm)
Credit Line
Museum Purchase
Label copy
March 28, 2009
This arresting study of a male nude combines a masterful portrayal of anatomy with a powerful evocation of movement and emotional intensity. The intricate pose and the dramatic elaboration of each element of the nude’s body give the figure a striking yet overwrought quality. Such excessive complexity was appreciated in the period as a sign of creativity and a conspicuous display of artistry.
The self-conscious cultivation of artistic difficulty seen in the figure’s elaborate pose was the key feature of a style that scholars have termed Mannerism. The style emerged in Rome in the 1520s among followers of Raphael and Michelangelo, and spread throughout Europe over the course of the sixteenth century. The relationship between this drawing and two prints also displayed here—Marten van Heemskerck’s The Resurrection and Hendrick Goltzius’s Calphurnius—as well as the painting The Flood, which hangs nearby, demonstrates the influence of Mannerism in the Netherlands.
Subject matter
The intricate pose and dramatic elaboration of each element of the nude's body--the well-muscled torso, the foreshortened arms, the striding legs--give the figure a striking yet overwrought quality. Such excessive complexity was appreciated in the period as a sign of creativity and a conspicuous display of artistry. The self-conscious cultivation of artistic difficult seen in this drawing was a key feature of a style popular in the mid- to late sixteenth century that scholars have termed Mannerism.
Physical Description
This study of a male nude set within a niche combines a skilled portrayal of anatomy with a powerful evocation of movement and emotional intensity. Through the carefully rendered arms and swirling draperies the artist expands and animates the space around the figure, who seems to surge forward even as he turns his head back in a gesture of despair.
Primary Object Classification
Drawing
Primary Object Type
study
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1954/2.54
Title
Study of a Male Nude with Floating Drapery
Artist(s)
Object Creation Date
1562-1638
Medium & Support
pen, brown ink and gray wash on laid paper
Dimensions
12 1/2 x 7.9 in. (31.59 x 20.16 cm);12 1/2 x 7.9 in. (31.59 x 20.16 cm);19 1/4 x 14 3/8 in. (48.89 x 36.51 cm)
Credit Line
Museum Purchase
Label copy
March 28, 2009
This arresting study of a male nude combines a masterful portrayal of anatomy with a powerful evocation of movement and emotional intensity. The intricate pose and the dramatic elaboration of each element of the nude’s body give the figure a striking yet overwrought quality. Such excessive complexity was appreciated in the period as a sign of creativity and a conspicuous display of artistry.
The self-conscious cultivation of artistic difficulty seen in the figure’s elaborate pose was the key feature of a style that scholars have termed Mannerism. The style emerged in Rome in the 1520s among followers of Raphael and Michelangelo, and spread throughout Europe over the course of the sixteenth century. The relationship between this drawing and two prints also displayed here—Marten van Heemskerck’s The Resurrection and Hendrick Goltzius’s Calphurnius—as well as the painting The Flood, which hangs nearby, demonstrates the influence of Mannerism in the Netherlands.
Subject matter
The intricate pose and dramatic elaboration of each element of the nude's body--the well-muscled torso, the foreshortened arms, the striding legs--give the figure a striking yet overwrought quality. Such excessive complexity was appreciated in the period as a sign of creativity and a conspicuous display of artistry. The self-conscious cultivation of artistic difficult seen in this drawing was a key feature of a style popular in the mid- to late sixteenth century that scholars have termed Mannerism.
Physical Description
This study of a male nude set within a niche combines a skilled portrayal of anatomy with a powerful evocation of movement and emotional intensity. Through the carefully rendered arms and swirling draperies the artist expands and animates the space around the figure, who seems to surge forward even as he turns his head back in a gesture of despair.
Primary Object Classification
Drawing
Primary Object Type
study
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Study of a Male Nude with Floating Drapery
pen, brown ink and gray wash on laid paper
12 1/2 x 7.9 in. (31.59 x 20.16 cm);12 1/2 x 7.9 in. (31.59 x 20.16 cm);19 1/4 x 14 3/8 in. (48.89 x 36.51 cm)
Museum Purchase
Accession Number
1983/2.249
Title
The Resurrection
Artist(s)
Marten van Heemskerck
Object Creation Date
1548-1574
Medium & Support
etching on laid paper
Dimensions
8 3/8 x 5 9/16 in. (21.2 x 14.1 cm);19 3/8 x 14 3/8 in. (49.2 x 36.5 cm)
Credit Line
Museum Purchase made possible by the Friends of the Museum of Art
Label copy
March 28, 2009
During his residence in Rome in the 1530s, van Heemskerck assiduously studied and sketched the artistic glories of the Eternal City. From his trove of drawings he found inspiration for the many paintings and hundreds of prints that he produced over the rest of his long and successful career in the Dutch city of Haarlem.
In this particular etching of Christ rising dramatically from the grave the artist creatively drew upon the Laocoön, one of the most celebrated ancient sculptures displayed in Rome. The massive marble statue depicts an episode in Virgil’s Aeneid in which the priest Laocoön and his two sons struggle against enormous sea serpents sent by the gods to slay them. Van Heemskerck loosely translated the desperate figures of Laocoön’s sons into the bewildered soldiers guarding Christ’s tomb. For rendering Christ, the artist borrowed the priest’s body—contorted in agony—for Christ’s torso and cleverly converted the writhing snakes into a wind-blown burial shroud.
Subject matter
This etching depicts Christ rising miraculously to life after his crucifixion. He steps off the lid of his tomb engulfed in an explosion of light, causing consternation among the six soldiers charged with guarding his body.
The print, made after a drawing by the artist dated 1548, reveals the influence of both ancient Hellenistic art and sixteenth-century Italian Mannerism upon van Heemskerck's work. The artist resided in Rome from 1532 until 1536 or 1537, where he studied the city's famous monuments and artworks and produced numerous drawings after them. From this trove of drawings he found inspiration for many of the paintings and hundreds of prints that he produced over the rest of his long and successful career in the Dutch city of Haarlem. In this work the artist creatively adapted the Laocoon, one of the most celebrated ancient sculptures displayed in Rome, for the poses of the figures.
Physical Description
A muscular figure surrounded by an aureole of light steps down from a plain rectangular tomb. Six soldiers, depicted in a variety of complex postures, recoil from the figure in shock.
Primary Object Classification
Print
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1983/2.249
Title
The Resurrection
Artist(s)
Marten van Heemskerck
Object Creation Date
1548-1574
Medium & Support
etching on laid paper
Dimensions
8 3/8 x 5 9/16 in. (21.2 x 14.1 cm);19 3/8 x 14 3/8 in. (49.2 x 36.5 cm)
Credit Line
Museum Purchase made possible by the Friends of the Museum of Art
Label copy
March 28, 2009
During his residence in Rome in the 1530s, van Heemskerck assiduously studied and sketched the artistic glories of the Eternal City. From his trove of drawings he found inspiration for the many paintings and hundreds of prints that he produced over the rest of his long and successful career in the Dutch city of Haarlem.
In this particular etching of Christ rising dramatically from the grave the artist creatively drew upon the Laocoön, one of the most celebrated ancient sculptures displayed in Rome. The massive marble statue depicts an episode in Virgil’s Aeneid in which the priest Laocoön and his two sons struggle against enormous sea serpents sent by the gods to slay them. Van Heemskerck loosely translated the desperate figures of Laocoön’s sons into the bewildered soldiers guarding Christ’s tomb. For rendering Christ, the artist borrowed the priest’s body—contorted in agony—for Christ’s torso and cleverly converted the writhing snakes into a wind-blown burial shroud.
Subject matter
This etching depicts Christ rising miraculously to life after his crucifixion. He steps off the lid of his tomb engulfed in an explosion of light, causing consternation among the six soldiers charged with guarding his body.
The print, made after a drawing by the artist dated 1548, reveals the influence of both ancient Hellenistic art and sixteenth-century Italian Mannerism upon van Heemskerck's work. The artist resided in Rome from 1532 until 1536 or 1537, where he studied the city's famous monuments and artworks and produced numerous drawings after them. From this trove of drawings he found inspiration for many of the paintings and hundreds of prints that he produced over the rest of his long and successful career in the Dutch city of Haarlem. In this work the artist creatively adapted the Laocoon, one of the most celebrated ancient sculptures displayed in Rome, for the poses of the figures.
Physical Description
A muscular figure surrounded by an aureole of light steps down from a plain rectangular tomb. Six soldiers, depicted in a variety of complex postures, recoil from the figure in shock.
Primary Object Classification
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Marten van Heemskerck
The Resurrection
etching on laid paper
8 3/8 x 5 9/16 in. (21.2 x 14.1 cm);19 3/8 x 14 3/8 in. (49.2 x 36.5 cm)
Museum Purchase made possible by the Friends of the Museum of Art
The Resurrection
etching on laid paper
8 3/8 x 5 9/16 in. (21.2 x 14.1 cm);19 3/8 x 14 3/8 in. (49.2 x 36.5 cm)
Museum Purchase made possible by the Friends of the Museum of Art
Accession Number
1960/2.83
Title
Samson's Vengeance
Artist(s)
Object Creation Date
2nd half of 16th century
Medium & Support
brush, red ink wash and Sanquine on cream paper
Dimensions
26 ¼ in x 16 15/16 in (66.68 cm x 43.02 cm);31 ½ in x 23 ¾ in (80.01 cm x 60.33 cm);26 ¼ in x 16 15/16 in (66.68 cm x 43.02 cm)
Credit Line
Museum Purchase
Primary Object Classification
Drawing
Primary Object Type
tone drawing
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
1960/2.83
Title
Samson's Vengeance
Artist(s)
Object Creation Date
2nd half of 16th century
Medium & Support
brush, red ink wash and Sanquine on cream paper
Dimensions
26 ¼ in x 16 15/16 in (66.68 cm x 43.02 cm);31 ½ in x 23 ¾ in (80.01 cm x 60.33 cm);26 ¼ in x 16 15/16 in (66.68 cm x 43.02 cm)
Credit Line
Museum Purchase
Primary Object Classification
Drawing
Primary Object Type
tone drawing
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Samson's Vengeance
brush, red ink wash and Sanquine on cream paper
26 ¼ in x 16 15/16 in (66.68 cm x 43.02 cm);31 ½ in x 23 ¾ in (80.01 cm x 60.33 cm);26 ¼ in x 16 15/16 in (66.68 cm x 43.02 cm)
Museum Purchase