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This scholarly inquiry delves into the historical significance of two enduring medical symbols: the Rod of Asclepius and the Caduceus. Tracing their origins back to ancient Greek mythology, we uncover their distinct identities and profound meanings as symbols of healing, unity among medical practitioners, and ethical responsibilities. Beyond aesthetics, these emblems serve as powerful educational tools, fostering universal understanding and connecting modern medicine to its historical heritage. Consequently, embracing their true essence can inspire genuine dedication to the noble mission of caring for others., (© The Author(s) 2023. Published by Oxford University Press on behalf of Fellowship of Postgraduate Medicine. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.)

History of Dentistry starts from the moment the Late Paleolithic Man used a toothpick fashioned from a bone or wood splinter, or the moment our human ancestors began to manipulate the surface of a tooth to remove its retentiveness, so food does not get stuck. That was at least 14,000 years ago, based on available evidence. The current timeline, compiled in this article, is one of many published over the years. However, this timeline incorporates three new strategies. First, it extends to select medical and fundamental dental discoveries, as the History of Dentistry can only be told with the main events within the History of Medicine. Second, it is more detailed (350 entries) than any previous timeline the author has encountered. Third, several critical primary references to support events listed in this timeline characterize this effort. Finally, 130 illustrations are included to improve the visualization of dates. The manuscript also includes a new display of the five main stages of dentistry throughout its history., (Copyright 2024 © American Academy of the History of Dentistry.)

Objective: The lenticular was an instrument introduced by Galen to facilitate cutting the bone of the cranium. Illustrations of the instrument first appeared in the 16th century during the Renaissance. These illustrations have been widely used, but the instrument's shape seems ill-adapted to its function. Archaeological research in Rimini, Italy, unearthed a similar instrument with a shape that seems more suitable for the function of cutting cranial bone. The object of this study was to evaluate the efficacy of these two instruments for cutting the bone of the cranium., Methods: Replicas of the two instruments were obtained. Trepanation was performed in the left parietal region of a sheep's head. In addition, the application of the instruments in the literature was analyzed., Results: The Roman lenticular cut the cranium with ease. The Renaissance instrument failed to cut the bone and only separated the dura mater from the bone. The lenticular had been used to cut bone up to the 13th century. In contrast, the Renaissance instrument was not used to cut bone but to smooth roughened bony surfaces and to remove spicules of bone that were in contact with the dura., Conclusions: Analysis of illustrations in medical publications should be undertaken with the same rigor as applied to analysis of text.

Realistic images became available for the first time. The first major figure was Berengario da Carpi (1460-1530). He made contributions to knowledge. He stated the dura was attached all over the interior of the cranium not just at the sutures. He also noted that deterioration following traumatic hematomas was speedier the deeper within the brain the bleed had occurred and he noticed that post-traumatic neurological deficits were contralateral. Moreover, he introduced new instruments of a practical design. Specifically, he launched trepanation using a brace and bit handle. This instrument required two hands and rotated the trepan in the same direction all the time. In addition, he illustrated a crown trepan in which the bits could be interchanged. He also developed an improved elevator. He also provided the first drawing of a lenticular. The next illustrations came from Vidus Vidius (1509-1569). The illustrations in his text were elegant and realistic but some of them were impractical or unusable. Ambroise Paré (1510-1590) was a major surgeon. He designed an improved brace and bit trepan with a collar to control penetration. He also introduced instruments for expanding a cranial opening by biting up the bone and for depressing the dura to enable material to escape more easily., (Copyright © 2024 Elsevier B.V. All rights are reserved, including those for text and data mining, AI training, and similar technologies.)

Art in neurosurgery has been a critical part of the discipline for centuries. Numerous cultures, such as ancient India, China, and Egypt, and more contemporary scientists, such as Leonardo da Vinci, Max Brödel, and Norman Dott, have significantly contributed to medical illustration. Today, advancements in three-dimensional technology have allowed for the creation of detailed neuroanatomy models for surgical planning and education. Medical illustrations are also used for research and outcome documentation as they help visualize anatomy and surgical procedures. Its use in education, surgical planning, and navigation remains integral to the advancement of neurosurgery. This review demonstrates the invaluable contribution of art in neurosurgery and how it has enabled continuous progress in the field., (Copyright © 2023 Elsevier Inc. All rights reserved.)

The anatomical sciences heavily rely on art and illustration to convey form, depth, and relationship within living structures. Today, biomedical illustrators carry forward traditions from 16th century artists through the likes of 20th century champions such as Frank Netter to help educators and researchers convey their messages to their listening, and more importantly, viewing audiences. Biomedical illustration programs are a valuable resource for academics to package their research as published figures, including graphical abstracts, in scientific journals. Here, we describe an innovative art-science collaboration among The Anatomical Record, the Department of Anatomy and Cell Biology at Rush University, and the Master's Program in Biomedical Visualization at University of Illinois at Chicago, whose students were invited to create and submit scientific illustrations for consideration as cover art for the journal., (© 2022 American Association for Anatomy.)

In a time when social isolation heavily relies on the use of digital representation, photography, and e-books, it is easy to take for granted the impact imagery has on our society and the pedagogical purposes of illustration, particularly in the teaching of surgery. Illustrations after all are the basis of all anatomical atlases and are quintessential tools that allow for an expedient and thorough understanding of concepts underlying the fabric of the human body. Yet, surgery has not always been taught with an atlas. Illustrations, much like surgery, have seen an incredible transformative process spanning across the ages to achieve their status in modern medicine. Through this brief review, we will not only glean an understanding of the evolution of anatomical illustrations but also the social context in which surgery has also evolved throughout history.

At the end of the first 100 years of neurosurgery as a specialty, it is appropriate to look back and then imagine the future. As neurosurgery celebrates its first century, the increasing role of women neurosurgeons is a major theme. This article documents the early women pioneers in neurosurgery in Asia and Australasia. The contributions of these trailblazers to the origins, academics, and professional organizations of neurosurgery are highlighted. The first woman neurosurgeon of the region, Dr. T.S. Kanaka of India, completed her training in 1968, not long after the trailblazers in Europe and North America. She heralded the vibrant communities of neurosurgical women that have developed in the vast and diverse nations of the region, and the many formal and informal groups of women in neurosurgery that have introduced and promoted talented women in the profession. Contributions of women neurosurgeons to academic medicine and society as a whole are briefly highlighted, as are their challenges in this male-dominated specialty. The region is home to many deeply conservative societies; in fact, some nations in the region have not yet trained their first woman neurosurgeon. The fortitude of these individuals to achieve at the highest levels of neurosurgery indicates great potential for future growth of women in the profession, but also demonstrates the need for initiatives and advocacy to reach the full potential of gender equity., Competing Interests: Declaration of Competing Interest The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (Copyright © 2021 Elsevier Ltd. All rights reserved.)

Dr Pernkopf's Topographische anatomie des menschen (Topographical anatomy of man), in four volumes, was originally published in German. It had taken the author and his colleagues over twenty years to produce it, the first volume being published in 1937. It was translated into English in 1964. The atlas was received with uniform acclaim in Europe and America and praised for its accuracy and the quality of its illustrations. A recent study compared its utility with that of Dr Frank Netter's Atlas of human anatomy, first published in 1989, with its 7th edition out in 2018. "The respondents (nerve surgeons) found Pernkopf 's atlas having both greater anatomical detail (range 79%-91%) and greater utility for surgery (range 66%- 82%) when compared with Netter's (P < .001) in all plate comparisons." (1) Internationally renowned and respected neurosurgeon, Dr M Gazi Yasargil - not given to handing out praise lightly - said in 2004 of this atlas, "Pernkopf's work, in particular … Vol. 4 (800 pages, 218 figures) is of fantastic quality and is appreciated worldwide." (2) Surgeons continue to use Dr. Pernkopf's atlas to plan their operations (3). A recent example is its use in the treatment of a 13-year-old Israeli schoolboy (4). This essay discusses whether it is rational to refuse to use data and publications that are accurate and likely to help in treating patients. Since such information can save lives, should we spurn it because it was based on information obtained unethically?

Leonardo da Vinci's analysis and artistic representation of the hepatic vascular anatomy, performed more than 500 years ago, has not yet been fully recognized nor appreciated. Leonardo modified the anatomic concepts of Galen, up until then in vogue, and described for the first time the intrahepatic distribution of the proper hepatic artery, the portal vein, and the hepatic veins. The depiction of these structures is surprising for its clarity and perspective and reproduces the anatomic situation almost exactly. The segmentary division of the liver which several centuries later became the basis of modern resection hepatic surgery was extremely clear in Leonardo's mind., (Copyright © 2020 Elsevier Inc. All rights reserved.)

This paper is part of Forum COVID-19: Perspectives in the Humanities and Social Sciences. The figure of the plague doctor with the beak mask has become the symbol of the plague par excellence. It's little wonder that the plague mask in the collection of the German Museum of the History of Medicine in Ingolstadt (Bavaria) is one of the museum's most popular objects and motifs. This forum paper investigates the figure of the plague doctor on several levels: first, it analyses contemporary textual and image sources in regard to protective clothing used in times of plague and the respective role of the beak-like part of the mask. Then it takes a close look at the Ingolstadt specimen. By examining the mask's materiality and fabrication, questions of its authenticity and practicability are raised. Finally, the Ingolstadt mask is compared with the specimen at the German Historical Museum in Berlin.The conclusion: the beak mask is not mentioned before the mid-seventeenth century, and then only in Italy and Southern France. There is no proof at all of its use during plague outbreaks in Middle Europe. And the specimens in Ingolstadt and Berlin? Both masks present details which suggest that they were not used as protective clothing at all. We do not know, however, if they were produced as replicas for historic reasons or as fakes for the modern art market.

This article reviews the collaboration between clinician and illustrator throughout the ages while highlighting the era of cardiac surgery. Historical notes are based on Professor Sanjib Kumar Ghosh's extensive review, literature searches, and the archives of the Johns Hopkins University Department of Art as related to Medicine in Baltimore. Personal communications were explored with medical illustrators and medical practitioners, many of whom are colleagues and trainees, to further chronicle the history of medical illustration and education in the era of cardiac surgery. Medical illustrators use their talents and expressive ideas to demonstrate procedures and give them life. These methods are (1) hovering technique; (2) hidden anatomy, ghosted views, or transparency; (3) centrally focused perspective; (4) action techniques to give life to the procedure; (5) use of insets to highlight one part of the drawing; (6) human proportionality using hands or known objects to show size; and (7) step-by-step educational process to depict the stages of a procedure. Vivid examples showing these techniques are demonstrated. The result of this observational analysis underscores the importance of the collaboration between clinician and illustrator to accurately describe intricate pathoanatomy, three-dimensional interrelated anatomic detail, and complex operations. While there are few data to measure the impact of the atlas on medical education, it is an undeniable assertion that anatomical and surgical illustrations have helped to educate and train the modern-day surgeon, cardiologist, and related health-care professionals.

In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis - the colour, texture, and patterns of primary chancres or secondary rashes - was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations. Yet photography's relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient's skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection., (© The Author 2019.)

For a brief period in1826, George Cruickshank (1798-1878), already an established artist in political satire and book illustration, turned to phrenology. He produced one initial print ( Bumpology ), followed by a collection of six plates of 33 engravings, linked by an explanatory preface, under the title, Phrenological Illustrations or an Artist's View of the Craniological System of Doctors Gall and Spurzheim . It was published during what is regarded as "the phrenological craze" in Britain. The illustrations were also produced at the height of Cruickshank's staggering creative productivity. In 1873, as phrenology was making its exit from scientific credibility into history, Cruickshank's phrenological illustrations were reissued by popular demand. Yet in contrast to his other works, these illustrations have received little attention in modern scholarship. The ways and the extent to which his caricatures constitute a contribution to the history of phrenology deserve to be studied. Here they are analyzed together with his descriptions in the prefaces to both the 1826 and 1873 editions. They reveal a surprising knowledge of phrenology in relation to Spurzheim and Gall. Furthermore, their uniquely innovative features will be identified in the context of other contemporary caricatures, and the fundamental significance of Cruickshank's achievement and its impact will be evaluated.

For nearly 90 years, notions of the brain have been inextricably associated with a homunculus that has become embedded within medical education as the precise representation of rolandic cortical function. We sought to define the history, evolution, accuracy, and impact of this pictorial means of showing cortical representation. We mathematically defined the evolutionary accuracy of appropriate homunculi using image analysis techniques for all points defined by Penfield, Boldrey, Rasmussen, Jasper, and Erickson, calculating perpendicular distances and defining areas and distributions of rolandic and sylvian regions labeled for sensory and motor activity with comparison with all homunculi. Prerolandic sensory representation composed 13%-47% of total sensory area (mean, 29%); postrolandic motor representation composed 15%-65% of total motor area (mean, 31%). Discrepancy between cortical perpendicular length attributed to a particular function on 1937 diagrams was greater than that attributed on the 1950 homunculus (motor: mean, 74%; range, 63%-96%; sensory: mean, 66%; range, 17%-92%) (P < 0.05). The homunculus, if truly drawn according to cortical mapping evidence, could never have been recognized as near humanoid, yet it has attained epic educational and practical longevity., (Copyright © 2019 Elsevier Inc. All rights reserved.)

The vascular hypothesis held that posttraumatic epilepsy results from reflex vasoconstriction of cortical arteries around a cerebral scar. Penfield's initial support and eventual refutation of the vascular hypothesis is the subject of this paper, which is based on a review of his clinical charts, operative and electrocorticographic reports, and brain maps held in the Montreal Neurological Institute archives. Penfield and his collaborators discovered that posttraumatic cortical scars are composed of astro-glial fibers, collagen fibrils, and a neo-vascular plexus that anastomoses with the surrounding cortical arteries. He hypothesized that the contracting scar applied traction to these arteries, which caused epileptic seizures. This was supported by his observations that cortical arteries constrict during an epileptic seizure. Penfield's subsequent investigations led to the discovery that parasympathetic nerves innervate the intracranial arteries, that experimental vasospasm can produce cortical infarction, and that cerebral blood flow (CBF) is coupled to cerebral metabolism. In fact, Penfield found that CBF increases in the epileptogenic zone around a cortical scar, contrary to what the hypothesis had predicted. Despite this, Penfield's investigations shed new light on the dynamics of the cerebral circulation that were not fully understood until decades later.

Tibetan medicine, one of the time-honored medical systems in the world, has increasingly been receiving attention the world over. Tibetan medical paintings (TMP, tib. Sman thang) has become one of the focal points in the studies of this medical system. To date, there are many atlases and publications on TMP, which are principally based on the two major sets of TMP series existing today in the world, the Lhasa set and the Buryat set. It has been found that the Buryat set is based on the Lhasa set, which was brought in late 19th to the first half of the 20th century from Tibet to Buryatia, Russia. A careful investigation on the basic structure of the two sets reveals that there are many differences between the two sets of paintings, including the total number of the paintings involved, of which some are missing in one set, the details of the captions of some of the paintings, the existence of the 80th painting and its supervisor, and the overall order of the entire set, etc. The details of the differences are elaborated and discussed, and the prospective of developing the research to arrive at a standard and perfect TMP set in the future is also analyzed and anticipated.

Introduction: Şemseddîn-i Itâkî is a key Turkish scientist in the field of anatomy. His book entitled Teşrih-ül Ebdan ve Tercümânı Kıbale-i Feylesûfan which was written in the seventeenth century is accepted as the first illustrated anatomy handwritten textbook in Turkish language., Materials and Methods: In this article, it was examined an original copy of Teşrih-ül Ebdan ve Tercümânı Kıbale-i Feylesûfan, which is available at the Süleymaniye Library in Istanbul, Turkey, as well as the transliteration of this book from old Turkish (Ottoman-Turkish) alphabet to contemporary Turkish alphabet by Esin Kâhya. In this book, the anatomical drawings and their descriptions were evaluated., Results: In this ancient handwriting, Itâkî begins with thanking God and then describes the general structure of the organs, bones, nerves, muscles and vessels, supporting with various illustrations. These illustrations are mainly focused on cranial bones, muscles, cranial nerves, spinal nerves, stomach, intestines, urogenital system, bladder, trachea, larynx and bronchi., Conclusion: While some of these illustrations are similar to the illustrations of the earlier authors such as Ahmed Ibn Mansur, Andreas Vesalius and Juan Valverde de Amusco, others are peculiar to this book. This book is highly significant for it's being the first Turkish book in the field of anatomy in Ottoman-Turkish medicine and the text's being supplemented by illustrations. This book is also a fundamental source for translation of anatomical terms into Turkish. Our knowledge of anatomy continues to improve thanks to the contributions of leading scientists such as Itâkî and, therefore, he deserves praise.

In his Thèse de Paris (1919) Konstantin Tretiakoff (1892-1956) described the two main morphological lesions in Parkinson's disease: the loss of pigmented nerve cells in the Substantia nigra and the intracellular inclusion bodies in idiopathic paralysis agitans, calling them "Corps de Lewy," which already had been described by F. H. Lewy in 1912. Tretiakoff's findings on idiopathic Parkinson's disease were confirmed years later by Rolf Hassler in his dissertation on anatomy and pathology of Substantia nigra in Berlin (1938, 1939). German authors in the 1920s underestimated the significance of both findings (Bielschowsky, 1922; Lewy 1923/1924; Spatz 1927), especially Lewy himself. Lewy (1923) and other German neurologists and neuropathologists like Felix Stern (1922, 1928), Goldstein (1922), and Spatz (1927; Luksch & Spatz, 1923) acknowledged the typical Nigra-lesions only for postencephalitic Parkinsonism. It is argued that Tretiakoff's selective attention for the Substantia nigra was guided by the frequency of epidemic encephalitis lethargica and its preponderance of nigral pathology. This impression can be derived from Tretiakoff's early paper on that disease (Marie & Tretiakoff, 1918) and from Paul Foley's opus magnum (2018). Two outstanding neurologists dedicated to this issue are called into memory: Gabrielle Lévy, the successor of Tretiakoff in the Salpêtrière laboratory, and Felix Stern, who died in 1942 as a victim of Nazi terror. The eponym Lewy-bodies went back to Lafora and Tretiakoff ("Corps de Lewy"). Newly expressed doubts about Lewy's primacy or Lafora's credit for the eponym (Lafora-bodies since 1911) can be refuted with the studies of Greenfield and Bosanquet (1953) and Greenfield (1963) by illustrating their different staining properties.

"Syndesmologia siue historia ligamentorum corporis humani", published in 1742 by a German anatomist Josias Weitbrecht (1702-1747), who for a long time lived and worked in St. Petersburg, is the first comprehensive textbook of syndesmology. The accuracy and quality of the accompanying illustrations are fascinating, even after almost 300 years. Weitbrecht was also the first to describe the synovial folds of the hip joint, later named after him as the retinacula of Weitbrecht. This eponym appeared in the first half of the nineteenth century in the studies of femoral neck fractures published in the UK. In the study of syndesmology, Weitbrecht was followed by a number of outstanding authors of that time, such as Meckel, Barkow, Arnold, Henle, Humphry and Fick.

On June 7, 1906, Jules Dejerine (1849-1917) and Gustave Roussy (1874-1948) presented to the Société de Neurologie de Paris the first description of the thalamic syndrome with serial-section microscopic images. They also provided the first account of central poststroke pain (CPSP). They suggested that pain is one of the primary symptoms of the syndrome, although one of their own patients ("Hud") did not have pain. Several contemporary studies have highlighted the involvement of the anterior part of the pulvinar (PuA) in patients with CPSP of thalamic origin. Two historical observations (cases Jos and Hud) are reviewed here using the Morel nuclei staining atlas (2007). Dejerine and Roussy proposed the "irritative theory" to explain CPSP of thalamic origin and, in line with the most recent literature, they invoked the involvement of the PuA. When matching images for the Jos and Hud cases with the Morel atlas, it appears that the lesions involved what Dejerine then termed the noyau externe; that is, the ventral posterolateral nucleus and the PuA. In the Jos case, the lesion extended medially to what Dejerine termed the noyau médian de Luys; that is, the central medial-parafascicular nuclei, whereas in the Hud case the lesion extended more inferiorly. From the finding in the Hud case, one can hypothesize that impairment of the PuA alone does not assure pain. The work of Dejerine and Roussy, based on clinico-anatomical correlations, remains relevant to this day., (© 2019 American Academy of Neurology.)

The authors report the history of the Tabulae Anatomicae of Bartolomeo Eustachio (ca. 1510-1574). In the tables, the anatomical illustrations were drawn inside a numerical frame, with pairs of numbers on the y- and x-axes to identify single anatomical details in the reference table. The measures and the references could be calculated using the graduated margins divided by 5 units for each the x-axis and y-axis. The Tabulae Anatomicae can be considered a precursor to modern anatomical reference systems that are the basis of studies on cerebral localization mainly used for stereotactic procedures.

The aim was to study Adriaan van den Spiegel's ideas on ocular anatomy. He is better known by his Latinized name as Adrianus Spigelius (1578 - 1625). He was a Flemish physician and anatomist who lived and worked in Padua, where in 1605 he was elected to be Professor of Anatomy and Surgery. Chapter IX of book ten of Spigelius' work on human anatomy, entitled De humani corporis fabrica libri X tabulis aere icisis exornati (1627) was devoted to an anatomical description of the eye. Corresponding to contemporary ideas of the production of knowledge Spigelius endeavoured to enhance Andreas Vesalius' (1514-1564) anatomy, he did not repeat his predecessor's theories of ocular anatomy. He conceptualised that the eye has six muscles, five tunics and three humors, while he gave a brief description of ocular physiology combining anatomy and the functional role of the anatomic ocular parts. CONCLUSION: He managed to correct Vesalius' errors and to present ocular anatomy with original notes, which so far, have been ignored and are highlighted now., (Copyright © 2019 by Academy of Sciences and Arts of Bosnia and Herzegovina.)

Mortimer Frank (1874-1919) was an ophthalmologist in Chicago, Illinois. He published a number of papers on the history of medicine, and was secretary of the Chicago Society of the History of Medicine and editor of their Bulletin. His major contribution to the history of medicine relates to the history of anatomical illustration. The classic book on that subject had been published in 1852 in German by the physician and historian, Johann Ludwig Choulant (1791-1861). However, by Frank's time this text was both out dated and out of print. Frank took on the tremendous project of translating Choulant's German text into English as History and Bibliography of Anatomic Illustration in Its Relation to Anatomic Science and The Graphic Arts . He improved Choulant's text with the results of his and other scholars' research, greatly enlarging the text. Frank supplemented the original book with a biography of Choulant, essays on anatomists not considered in the original text, and an essay on the history of anatomical illustration prior to those authors discussed by Choulant. This book, now referred to as Choulant/Frank, has been reprinted several times, and is still useful as a reference in this field, though some of its research is now dated.

Experiences following stimulation of the senses have been recorded for millennia, and they could be related to the gross anatomy of the sense organs. Examination of their microanatomy was to await the development of achromatic microscopes in the early nineteenth century. Among the microscopic structures that were isolated and described were specialized sensory cells, called receptors, and they could be related to the stimuli that excited them. Those located in well-defined sense organs (like the eyes, ears, nose, and tongue) were named on the basis of their morphology, whereas the receptors in or beneath the surface of the skin were generally named after those who first described them. Illustrations of early representations of sensory receptors are combined with "perceptual portraits" of the microanatomists who described them.

Competing Interests: Der Autor gibt an, dass kein Interessenkonflikt besteht.

The use of Eduard Pernkopf's anatomic atlas presents ethical challenges for modern surgery concerning the use of data resulting from abusive scientific work. In the 1980s and 1990s, historic investigations revealed that Pernkopf was an active National Socialist (Nazi) functionary at the University of Vienna and that among the bodies depicted in the atlas were those of Nazi victims. Since then, discussions persist concerning the ethicality of the continued use of the atlas, because some surgeons still rely on information from this anatomic resource for procedural planning. The ethical implications relevant to the use of this atlas in the care of surgical patients have not been discussed in detail. Based on a recapitulation of the main arguments from the historic controversy surrounding the use of Pernkopf's atlas, this study presents an actual patient case to illustrate some of the ethical considerations relevant to the decision of whether to use the atlas in surgery. This investigation aims to provide a historic and ethical framework for questions concerning the use of the Pernkopf atlas in the management of anatomically complex and difficult surgical cases, with special attention to implications for medical ethics drawn from Jewish law., (Copyright © 2018 Elsevier Inc. All rights reserved.)

Competing Interests: None

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., (Copyright © 2019 Elsevier Ltd. All rights reserved.)

Objective: This study aimed to present and evaluate the part of Avenzoar's Liber Teisir that pertains to hydrocephalus. Avenzoar was an Andalusian physician prominent in the history of medicine because of the broadness of his observations and original methods. His most important work is recognized to be the Al-Taysīr fī al-Mudāwāt wa al-Tadbīr (On Preventive Regimen and Treatment), and its Latin version, Alteisir scilicet regiminis et medelae, which was in use for centuries in Europe., Methods: The Arabic (Rabat, Morocco, in 1991) and Latin (Venice, Italy, in 1530) versions of Avenzoar's work were perused, relevant sections were separately translated into English, and both translations were then compared. An English version was prepared and is given in our results., Results: The location of liquid collection was described as the anterior ventricles of the brain and around the brain., Conclusions: Avenzoar might have noted one of the earliest records on the clinical state called idiopathic adult hydrocephalus and postulated liquid collection in the ventricles of the brain in hydrocephalus before Vesalius., (Copyright © 2018 Elsevier Inc. All rights reserved.)

This paper provides an overview of the state of Mexican genetics and biomedical knowledge during the second half of the twentieth century, as well as its impact on the visual representation of human groups and racial hierarchies, based on social studies of scientific imaging and visualization (SIV) and theoretical concepts and methods. It also addresses the genealogy and shifts of the concept of race and racialization of Mexican bodies, concluding with the novel visual culture that resulted from genetic knowledge merged with the racist phenomenon in the second half of the twentieth century in Mexico.

There is an almost innate urge in human beings to represent reality in a visual form. From rock art in the Paleolithic to images of galaxies, the quotidian and the extraordinary have been visually represented through the ages. Medical and scientific disciplines are no exception. Accurate representation of the human body structures and anatomy based on cadaver dissections was almost not possible up to the Renaissance due to ethical, social, and religious beliefs and objections. The works of Leonardo da Vinci (1452-1519) and others and, later, Andreas Vesalius (1514-1564), who produced De Humanis Corporis Fabrica, are considered landmarks in the history of medicine. During the following centuries medical and scientific illustration relied upon the expertise of physician-artists and scientist-artists until a new paradigm appeared in the realm of scientific (medical) illustration: the invention of photography in the 19th century. Two of the medical disciplines most rapidly influenced by photography were dermatology and pathology, both macro- and microscopic. Physicians rapidly started to use photographs as a tool for consultation, documentation, and education, and large collections of images were amassed by individuals and institutions for these purposes. Photographic images are produced by visible light impressing a light-sensitive material such as a silver halide plate, and nowadays a silicon chip. But photons are reflected by nontransparent objects, including the human skin. Developments in science and technology allowed the use of other types of radiation to reveal internal structures in the human body and, most interestingly, noninvasively. Thus today much of the medical diagnosis and treatment is guided by the so-called medical imaging with the use of these techniques, that is, medical photography, endoscopy, x-ray radiography, computer-aided tomography, magnetic resonance imaging, ultrasonography, thermography, and nuclear medicine functional imaging techniques as positron emission tomography (PET) and single-photon emission computed tomography (SPECT). Some of these techniques are being applied at the microscopic level to study cell structure and even functional changes in real time. All these advancements in science and technology applied to medicine and other disciplines pose the question as to what extent physicians are trading their capabilities as clinicians. Ethics issues add to the complexity of this new era governed by constant changes in scientific paradigms., (Copyright © 2018 Elsevier Inc. All rights reserved.)

Harvey Cushing and Wilder Penfield enjoyed a unique professional and personal relationship. Shortly before his retirement from Harvard University in 1933, Cushing sent Penfield 8 sketches that he drew in 1902 and 1903 while he was at Johns Hopkins Hospital. The first series of 3 sketches illustrate the relationship between a cortical hemorrhagic lesion and the motor strip in a patient with focal motor seizures. The second series also comprises 3 sketches. These depict the operative findings in a patient in whom Cushing had electrically stimulated the precentral gyrus, before resecting the cortex subserving motility of the upper extremity to control painful dyskinetic movements. The third series consists of 2 sketches that illustrate the results of stimulation of the motor strip as an aid in the safe resection of an epileptogenic focus in a patient with Jacksonian seizures. These sketches are the subjects of this paper. They add to the relatively sparse record of Cushing's activities in cortical stimulation and in the treatment of functional disorders.

Sir Alexander Morison's The Physiognomy of Mental Diseases and the original art work that formed the basis of the book have not had the scholarly attention they deserve. The published book and the commissioned portraits have not been studied in any detail. Historians have tended to offer cursory assessments that have reflected their own preconceived ideas rather than properly engaging with the material. This is a pity because Morison's work is a rich source that tells us much about the history of psychiatry. The pictures and text give us a glimpse into the world of the asylum and that of the patient. Although we see the patient through the eyes of the artist and Dr Morison, they do emerge as individuals. The accompanying texts reflect the psychiatric approach of the time and reveal contemporary notions of diagnosis, aetiology and treatment. Morison's work can also be located in the history of ideas about physiognomy. He himself was particularly influenced by Jean-Étienne-Dominique Esquirol, and Morison's work, in turn, influenced WAF Browne. These papers will outline Morison's career and consider in detail his book on The Physiognomy of Mental Diseases., Competing Interests: AB is the History and Medical Humanities Editor of the Journal of the Royal College of Physicians of Edinburgh. This paper has undergone the usual peer review process; AB was not involved.