Like the Zodiac, bloodletting, disease, and female anatomical figures, this image derives from earlier manuscript drawings. It graphically demonstrates the many types of wounds that can befall the human body, and the text that follows describes how each wound should be dressed and tended to. Beginning with how to treat blunt head wounds, threats against the body are dealt with all the way down, ending in how to deal with an injury to the bottom of the foot. In addition to trauma caused by all manner of weapons (arrows, daggers, clubs, knives, swords, etc.), the figure also demonstrates a few patches of small dots indicating “fistulae and cancers,” and how to treat them.

1495: The 1495 wound figure features the same composition as many of the other full-body figures in this version of the Fasciculus, with thin lines pointing to specific parts of the body. The discrete boxes of text crowd the figure more than his counterparts. His genitalia are again covered by a later reader. There are a few textual descriptions on the figure’s torso, which indicate the positions of the trachea, the esophagus, the lungs, and the stomach, although these organs are not explicitly drawn. Like the Zodiac figure, the wound man is positioned on solid ground almost in contrapposto, hands outstretched as though he were on a casual stroll outdoors.

1500: The 1500 wound figure is very similar to the 1495 version, with the addition of flesh-tinted skin and a color ground beneath him.

1509: The 1509 wound figure is the mirror-image of the earlier versions. The text in the margin outside the image’s frame has been rearranged so it is denser and in more even blocks than the earlier versions. The black pointer lines are not attached to specific letters.

1513: The 1513 wound figure is nearly identical to the 1495 and 1500 versions, but the text is arranged in a similar manner to the 1509 version: the frames around each section of text are gone, and the text itself is denser, with far fewer gaps.

1522: The 1522 version is almost identical to the 1513 version, with the exception of the text’s translation into Italian, inevitably resulting in variations in text arrangement.