William Hunter’s Anatomy School and Museum at 16 Great Windmill Street served to provide education and instruction not only to students of medicine, it seems reasonable to suggest that lectures delivered in the anatomy theatre were attended by a number of interested parties, including artists, during Hunter’s lifetime. Evidence for this might be drawn from the remarks made by the young artist, John Northcote (1746-1831) who describes a mingling of students in the audience for anatomy at the Royal Academy of Arts, where Hunter was the First Professor of Anatomy from its foundation in 1768. Writing to his brother in the 1770s, Northcote remarks: ‘I wish much that you lived near enough to attend the lectures as you would be much pleased, I am very sure, The anatomical lectures on the dead body, indeed partake a little too much of the bull beating as then we have such a number of young surgeons and fine gentlemen with bags and swords that last time it was almost like going to see Garrick act’. A correspondent in the St James’s Chronicle in 1779 also comments of William Hunter’s Anatomy School and Museum as: ‘being much visited and extolled by Foreigners.’ Therefore, 16 Great Windmill Street (designed and built between 1767-1768) ought to be included within a chronology of the development of museums and sites of scientific interest in London during the eighteenth century. Hunter had been teaching anatomy to artists at the St Martin’s Lane Academy since 1750-51, and had already established a close network of artistic friends, including William Hogarth and George Stubbs. That Hunter’s lectures on anatomy appealed to a more generalized audience, demonstrates the interconnectedness of art and natural philosophy or natural knowledge during the period. Hunter shared with William Shipley, founder of the Society for the Encouragement of Arts, Manufactures and Commerce, a strong belief in the usefulness of artistic skills, particularly for the advancement of British manufacturing and industry in an expanding empire; and Hunter was elected a member of the Society in 1758. Hunter’s lectures promoted the acquisition of drawing skills as essential to furthering knowledge of natural history and the natural sciences. This paper describes the planning and execution of Hunter’s house at Windmill Street and explains how such a ‘great school of anatomy’ contributed to debates and ideas related to the representation and imitation of nature in the fine arts more broadly.