The eighteenth-century wax models, commonly referred to as anatomical Venuses, at the Museo di Storia Naturale La Specola in Florence, recreate significant aspects of the ideal female body as depicted in the Renaissance. These sculptural depictions of female anatomy revivify the erotic female nude. The eroticism permeating the Venuses originates from the historical hyper-sexualization of women by medical professionals. Humanist scholars and physicians perpetuated ancient misunderstandings of female anatomy which became embedded in early modern medical and visual culture. These carefully arranged poses of the anatomical Venuses were visually informed not only by famous images, such as Titians Venus of Urbino, but also by contemporary publications, such as the prints in Andreas Vesalius De Humani Corporis Fabrica (1543). By tracing this tradition and its relevance in the eighteenth-century, this paper situates the wax anatomical bodies in the broader art historical narrative of sculpture.