Architecture The Ether Dome is one of the oldest operating theatres in the United States. Over the years, there has been a concerted effort to restore the original architecture of the Ether Dome while also incorporating modern technology for educational uses today. Architects and designers tried to maintain the authenticity of the space by relying on historical documents and photos. Additionally, specialists analyzed paint chips from the early 19th century in order to help with renovations and to ensure the damages were repaired. The dome's architecture resembles that of a courtroom or a theatre house where surgeries were performed at the center of the dome. An audience of surgeons and doctors can witness the surgeries and therefore the room has a number of seats arranged in the style of an amphitheater so all spectators can see the details of the medical procedures performed by the surgeons in charge. A visitor to the room can physically determine that the stairs are extremely steep (noticeably larger than the average stair) and can infer that the steepness is so all practitioners could view the educational surgery. Furthermore, a visitor to the room today can see the names of famous doctors crafted on the seats in commemoration of the physicians who contributed to this tremendous discovery. Extremely curious and tedious spectators may notice ceiling hooks near the base of the dome and wonder if the hooks are original. In order to answer this question, general background knowledge of ceiling hooks is needed. The ceiling hook was invented in the late 1880s originally to mount the newly invented ceiling fan. First, the Ether Dome ceased operation in 1867, making it impossible for these ceiling hooks to be for medicinal use, or any use in fact because they did not exist. Furthermore, only recently have companies been able to design a hook that could hold fifty or more pounds which limits beginning speculations of medical purpose of the hooks in 1821. Also, the location of the dome and the large glass ceiling and windows that compose the dome let in light for operations to be performed. Modern day surgery theaters follow the same concept of the Ether Dome's stylistic arrangement, however do not feature a dome due to modern lighting technology. However, for hygiene purposes the spectators' section is separated from the main gallery by glass. The Ether Dome and its original theatre style architecture has turned into a nationally recognized historical site for interested spectators, especially students of medicine.
The first operating room of MGH The Ether Dome served as an operating theater from 1821 to 1867, when a new surgical building was constructed. Operating rooms built before electricity were typically located on the top floor of a building to take advantage of available light. Before surgical anesthesia the location was also helpful to muffle the screams of patients for those on the floors below. Because pain often induced shock, surgeons of the day prided themselves on the speed in which they could amputate an arm or a leg. Ninety seconds was considered a good time. Two 19th-century operating chairs famously known as Bigelow Operating chair was built in 1854, are located in the display area behind the seating tiers. Their red velvet upholstery was apparently intended to make bloodstains less visible. It was created in light of this discovery; it was the first of its kind without restraints and had ivory and wooden handles that could be used to position the unconscious, anesthetized patient. The chair quickly fell out of use over the next few decades, however, as it was made from leather rather than metal, which can be sterilized more easily. The Ether Dome has not always served the purpose of an operating room. From 1821 to 1868, operations were performed, it was then a storage area from 1868 to 1873, a dormitory from 1873 to 1889, a dining room for the nurses employed at MGH from 1889 to 1892, and now it is a teaching space.
Mummy (the hospital's oldest patient) On May 4, 1823,
Massachusetts General Hospital received an Egyptian mummy from the city of Boston, complete with painted wooden inner and outer coffins. The ensemble had been given to the city by
Jacob Van Lennep, a Dutch merchant living in Symrna,
Ottoman Empire (modern day
İzmir, Turkey) in the early 19th century. It is thought that Mr. Van Lennep, who was also the consul general of the Netherlands, bought the mummy as a gift to Boston as a way to impress his native New England in-laws. The mummy arrived in Boston on April 26, 1823, on the British ship the Sally Ann and was the first complete Egyptian burial ensemble in America. He was placed under the care of the ship's captain, Robert B. Edes, along with Bryant P. Tilden, Esq., who ultimately made the decision to give the mummy to Massachusetts General Hospital, whose trustees accepted the gift as "an appropriate ornament of the operating room," while also hoping to exhibit the mummy to raise funds for the hospital. The fledgling hospital, which had opened its doors just two years earlier, was still in need of operating funds that would help it better serve the sick and indigent individuals for whom it had been chartered to provide care. The mummy would help raise those needed funds. Shortly after his arrival, the mummy was put on display at "Mr. Doggett's Repository of Arts" in Boston, where hundreds of people paid $0.25 to see the first complete human Egyptian mummy in the U.S. That fall, the mummy went on a year-long (1823 to 1824) multi-city tour of the East Coast, raising even more money for the hospital. Upon his return, he was placed in the Ether Dome where he subsequently witnessed more than 6,000 surgeries, including the famous first successful demonstration of surgery under anesthesia on October 16, 1846. In 1823,
John Collins Warren partially unwrapped and examined the mummy. He then published the first American treatise about mummies and mummification. The mummy spent much of the late 19th century at the
Boston Museum of Fine Arts. The mummy's outer coffin has been at the
George Walter Vincent Museum in
Springfield, MA since 1932. More than a century later the hospital learned just who the mummy was. In 1960,
Dows Dunham, curator emeritus of the Department of Egyptian Art at
Boston's Museum of Fine Arts, examined and translated the hieroglyphics on the mummy's coffin. Hailing from the 26th Dynasty (663–525 BC) or later, the mummy now had a name—Padihershef, meaning "He whom the god Hershef has given." and a birthplace—Thebes; and an occupation—stonecutter. Newer medical information tells us that Padihershef, or "Padi", was probably between 20 and 30 years of age and was not a stonecutter at all. Rather, he was "tomb finder," or prospector, someone who looked for spaces in the Theban necropolis that could serve as burial spaces. In 2013, a donor provided funds for the mummy's restoration. During the procedure, Padihershef was given a full-body CT scan overseen by Massachusetts General Hospital's radiologist Rajiv Gupta. This scan, which provided more than 20,000 scans that were then assembled into 3D renderings of his body. Many of these are replicated in the report prepared by forensic pathologist Jonathan Elias, PhD, of AMSC Research, a mummy research consortium. One of the outcomes of the project includes a CT facial reconstruction of Padihershef. Using the scans, 3D facial recognition software and a thorough knowledge of mummy forensics, Elias' group undertook a thorough analysis based on all these factors and using a 3D skull model, developed a representation of what Padi may have looked like in life. The mummy Padishershef has borne witness to many medical milestones during his 190 years in the
Massachusetts General Hospital's Ether Dome. Over the decades, visitors to the room have been greeted silently by this unusual host, standing nestled in his beautifully decorated coffin, and often wondered just who he was and how he came to reside at the hospital. Until this most recent examination, little was known about his life before his death.
John Collins Warren, MD, co-founder of
MGH and its first surgeon, had performed a post-mortem on "Padi" when he first came to the MGH, which included uncovering the mummy's head, as it remains today. In 1931, and again in 1977, X-rays were taken of Padi in his case, which provided a little more insight into his health. Growth lines show that Padi was so ill as a child that his growth stopped for some time before he was well again. Bone damage reveals that he suffered from arthritis. The extensive report included here provides many details of Padi's life that were unknown to us until his March 2013 scanning examination. Padi has been restored twice before: once in the 1980s and again in 2002. Salt deposits that build up from the embalming elixir have formed on the exposed portions of Padi's face and head need to be removed periodically.
The Apollo Belvedere Statue The plaster statue of Apollo in the Ether Dome was given to the M by statesman and
orator, Honorable
Edward Everett in March 1845. In exchange, the hospital trustees presented to him "their grateful acknowledgments for his beautiful gift, valuable as a memorial, that, amidst his arduous public duties in a foreign country, Mr. Everett feels an undiminished interest in the charitable institutions of his native land." Everett wanted to exude his appreciation of MGH being a charitable institution—a voluntary hospital with a mission of treating the often poor patients who were in dire need of assistance. In return for the gifted statue of Apollo, the trustees of MGH kept this statue in the Ether Dome as a memorial to his philanthropic acts. The displayed work is a copy of the original
Apollo Belvedere, a sculpture unearthed in Rome during the Renaissance. Napoleon looted Rome in the early 19th century and took the Apollo Belvedere from the Vatican to the
Louvre in Paris. where the statue that is on display was crafted. The Louvre made and sold plaster casts of the statue, one of which Everett bought and shipped back to Boston. The English sea captain and novelist
Frederick Marryat decried, while on a visit to Everett's home, where the statue was draped to cover its near-nakedness, a few years before the donation, the covering as an example of the prudishness of otherwise educated and open-minded Americans. The Apollo remains a part of the architecture of the Ether Dome as a testament to medicine due to its symbolism. Upon further observing the cast statue, one may notice the snake directly next to Apollo. Snakes are a symbol of renewal and are even displayed in the
caduceus—a prominent emblem of healing. Furthermore, the statue is an indicator to visitors that this room represents innovation and the advancement of medicine. The Hippocrates of Ancient Greek scholars worshipped Apollo, and this inevitably led to teachings that would act as a precedent to modern-day medical personnel. Apollo—the god of medicine and healing—was sacred in the original
Hippocratic Oath: "I swear by Apollo the Healer, by Asclepius, by Hygieia, by Panacea, and by all the gods and goddesses, making them my witnesses, that I will carry out, according to my ability and judgment, this oath and this indenture."
Skeleton The teaching skeleton hanging in the Ether Dome can be seen in the background of daguerreotypes showing the administration of ether anesthesia in 1847. Such skeletons were a common feature in hospitals and medical schools in the 19th century. While the identity of this skeleton is not known, it is possible that it was obtained through the practice of
body snatching, a practice prevalent in the 19th century due to a shortage of available bodies for instruction in medical schools. As medical dissection was illegal in many parts of the United States, students often had to rely on the illicit activities of body snatchers, or resort to grave robbing themselves. In 1831, Massachusetts passed the Anatomy Act, allowing the state's medical schools to obtain the bodies of the poor, the insane, and those who died in prison. The aim of this act was to decrease the illicit activities of the body snatchers, though it further contributed to the sense of separation between the well-to-do, who could be buried in respectable cemeteries, and the poor, who were at risk of having their bodies used against their wills after death.
Ether Dome sublevel exhibit Located through small doors on either side of the Ether Dome theater or through a closed door at the bottom of a steep, downwards stairway behind the top row of the theater, there is an exhibit of various Ether Day artifacts and information, including quotes from the Ether Day event. In the round room under the seats of the Ether Dome theater, the exhibit is designated as the "G. H. Gay Ward, Memorial of George Henry Gay" by a shiny, gold plaque. On the walls there are drawings and paintings of notable figures, such as Dr. William T. G. Morton, and pictures of quotes, like "We have conquered pain." Alongside the exhibited pictures and quotes, there are artifacts like an operating chair and the wedding clothes of William T. G. Morton, which represent an evidence of wealth and a veneration of ether. The hidden crescent-shaped corridor is a significant part of the Ether Dome exhibit that rarely gets the same attention. With a normal diabetes office inside of the small doors, it is easy to see how the Ether Dome's second half can be mistaken for a locked room or closet behind the Ether Dome. == Gallery ==