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An essay is presented on artist, sculpture, architect and anatomist Leonardo da Vinci's significant contributions to human anatomy. It chronicles how da Vinci started working on artistic anatomy as attested by the Saint Jerome painting and the series of anatomical studies that are mainly based on animal dissections. It also mentions the different scientific topics studied by da Vinci that includes the dissection of a centenarian and anatomical studies postures.

Leonardo da Vinci (1452-1519) contributed to the study of the nervous system. His earliest surviving anatomical drawings (circa 1485-93) included studies of the skull, brain, and cerebral ventricles. These works reflected his efforts to understand medieval psychology, including the localisation of sensory and motor functions to the brain. He was also the first to pith a frog, concluding that piercing the spinal medulla causes immediate death. After a 10-year interval in the early 1500s Leonardo resumed his anatomical studies and developed a method to inject hot wax into the ventricular system, creating a cast that showed the shape and extent of the ventricles. During this period he also progressed in his understanding of the anatomy of the cranial nerves. Besides being the first to identify the olfactory nerve as a cranial nerve, his dissections showed him that contrary to previous theories, the nerves do not converge on the lateral or third ventricles. Leonardo also performed detailed studies of the peripheral nervous system. Although his discoveries had little influence on the development of the field of anatomy, they represent an astonishingly sharp break from the field that had seen little if any progress in the previous 13 centuries. His work reflects the emergence of the modern scientific era and forms a key part of his integrative approach to art and science. [ABSTRACT FROM AUTHOR]

Discusses anatomical science at Austria's University of Vienna from 1938 to 1945. War-time connections between the department of anatomy and Am Spiegelgrund, a psychiatric hospital and site of euthanized retarded and handicapped children under the Nazi regime; Anatomical practices at Vienna University; Investigations of anatomical preparations; Eduard Pernkopf and his atlas, `Topographical human anatomy.'

Highlights medical watercolors of diseases of a variety of organs found in three Scottish universities. Watercolors found at the pathology department at the University of Edinburgh; Edinburgh Royal Infirmary; The Royal Scottish Society of Arts; The link between William Tennant Gairdner and artist Neil Stewart.

The article offers information on the early handwritten annotations of the late Flemish anatomist Andreas Vesalius and explores the advancement of early modern medicine. Topics discussed include the human anatomy atlas "De humani corporis fabrica," illustrated by Vesalius, the role of the atlas as a foundational work of early modern medicine, and the association between the Christian theory and Vesalius anatomy.

The article focuses on the cerebral ventricles of artist, anatomist and architect Leonardo da Vinci's anatomical drawings. It highlights da Vinci's two drawings that focused on the brain, which illustrate portrayal of the cerebral ventricles and the belief in the localization of psychological functions. It also mentions the significance of da Vinci's anatomical drawings which can be considered as the most inspiring documents of the empirical origins of modern scientific method.

The author reflects on artist Leonardo da Vinci's legacy and thinking that illustrate his lasting effect on understanding the body, science and humanity. He examines da Vinci's approach to life which was built upon a vision of unity despite his diverse body of work that span from anatomy, neurology, optics embryology and medical education. The author also asserts that the artist's approach and understanding of unity has earned him credit to be described as a truly visionary.

The article profiles the contribution of anatomist Anna Morandi to the medical field and medical students. She was an renowned designer of accurate wax models of tissues and organs. She and her husband reportedly created models both for their own collection and commercial purpose for customers that included the royal courts and academies of Europe and Russia.

The article looks at the heart from the perspective of the author William Shakespeare. An interpretation of the heart according to the work of British physician William Harvey is also discussed. The heart as described in Shakespeare's plays "Macbeth" and "A Midsummer Night's Dream" is described. The author explains that Shakespeare's work represents the medical consensus of the time period, accounting for internal systems like diet and emotions as well as external factors such as battle wounds.