After 10 years, Morgan Parker, an  engineer, developed and patented another type of disposable scalpel, consisting of an overlapping blade locked into a metal handle that allows for easily replacing dull and used blades with fresh sterile blades. Compared to the Gillette ones, this new blade provides stability whilst still being able to exchange blades between uses. Despite the knowledge that heat can control bleeding since the sixth-century BC, it was not until the 18th-century that people started to use electricity to generate heat for cautery. William Stewart Halsted was the pioneer of the technique, which later was called Diathermy. In 1900, physician Joseph Rivière used electrical current to treat a benign carcinomatous ulcer on the dorsum of his patients hand. Then in 1907, Physician Karl Franz Nagelschmidt used diathermy to treat lesions as well as the coagulation of vascular tumors and hemorrhoids. In the early 1900s, William T. Bovie proposed the use of different current (flow of electrical charge of the carrier) for cutting and coagulation. Bovie collaborated with Dr. Harvey Cushing, which led to the birth of “Bovie”, a diathermy apparatus. It allows for careful dissection of tissue while maintaining hemostasis. Retractors
During the Renaissance, retractors were lacking so the surgeons uses their fingers to supply the necessary retraction of tissue exploration. Albucasis, a pioneer of modern medicine, devised numerous hooks for surgical retraction including circumcisions, tracheostomies, hemorrhoidectomies, and central extractions in his famous book Al Tasreef Liman ‘Ajaz ‘Aan Al-Taleef around 1000 AD.
In this they were the reverse of the Renaissance intermezzo, which usually had a mythological or pastoral subject as a contrast to a main comic play. Often they were of a burlesque nature, and characterized by slapstick comedy, disguises, dialect, and ribaldry. The most famous of all intermezzi from the period is Pergolesis La serva padrona, which was an opera buffa that after the death of Pergolesi kicked off the Querelle des Bouffons. In some cases the intermezzo repertory spread more quickly than did the opera seria itself; the singers were often renowned, the comic effects were popular, and intermezzi were relatively easy to produce and stage. In the 1730s the style spread around Europe, and some cities—for example Moscow—recorded visits and performances by troupes performing intermezzi years before any actual opera seria were done. The intermède (the French equivalent of the intermezzo) was the single most important outside operatic influence in Paris in the mid-18th century, and helped create an entire new repertory of opera in France (see opéra comique). The word was used (with a hint of irony) as the title of Richard Strausss two-act opera, Intermezzo (1924), the scale of which far exceeds the intermezzo of tradition. Many of the most celebrated intermezzi are from operas of the verismo period: Mascagnis Cavalleria rusticana and Lamico Fritz, Leoncavallos Pagliacci, Puccinis Manon Lescaut and Suor Angelica, Giordanos Fedora, Cileas Adriana Lecouvreur, and especially that from Massenets Thais, which became known as the Méditation.