Summary. Social class differences in height have been recognised for many centuries. However, few studies have examined the extent to which these differences are made up of differences in leg length or trunk length. This paper reanalyses cross-sectional information on children examined in Britain in the 1930s. We assess associations between socioeconomic status and diet and the components of childhood stature. The analyses were based on the records of 2990 children aged 2 years to 14 years 9 months who were examined in the Carnegie (Boyd Orr) survey of diet and health (1937±39). z-Scores for the measures of childhood stature were calculated using polynomial regression techniques with the study population as the standard. Univariable and multivariable statistical techniques were used to assess the relationships between childhood height, leg length and trunk length, and dietary and socio-economic factors measured at the level of the household. Leg length was the component of stature most strongly associated with measures of childhood diet and socio-economic status. A greater part of the difference in stature between socio-economic groups was caused by differences in leg length rather than trunk length. In multiple regression analyses, district of residence and family food expenditure were generally the two factors most strongly related to stature. In a subsample of the surveyed children, for whom birthweight information was available, trunk length and leg length were equally strongly related to birthweight. Leg length appears to be a particularly sensitive indicator of childhood socio-economic circumstances. Although contemporary studies highlight the importance of biological factors in determining childhood height, the data analysed in this study suggest that socio-economic circumstances were also important in explaining height differentials in prewar Britain.

The expertise of others is a major social influence on our everyday decisions and actions. Many viewers of art, whether expert or naïve, are convinced that the full esthetic appreciation of an artwork depends upon the assurance that the work is genuine rather than fake. Rembrandt portraits provide an interesting image set for testing this idea, as there is a large number of them and recent scholarship has determined that quite a few fakes and copies exist. Use of this image set allowed us to separate the brain’s response to images of genuine and fake pictures from the brain’s response to external advice about the authenticity of the paintings. Using functional magnetic resonance imaging, viewing of artworks assigned as “copy,” rather than “authentic,” evoked stronger responses in frontopolar cortex (FPC), and right precuneus, regardless of whether the portrait was actually genuine. Advice about authenticity had no direct effect on the cortical visual areas responsive to the paintings, but there was a significant psycho-physiological interaction between the FPC and the lateral occipital area, which suggests that these visual areas may be modulated by FPC. We propose that the activation of brain networks rather than a single cortical area in this paradigm supports the art scholars’ view that esthetic judgments are multi-faceted and multi-dimensional in nature.

Style is a familiar category for the analysis of art. It is less so in the history of anatomical illustration. The great Renaissance and Baroque picture books of anatomy illustrated with stylish woodcuts and engravings, such as those by Charles Estienne, Andreas Vesalius and Govard Bidloo, showed figures in dramatic action in keeping with philosophical and theological ideas about human nature. Parallels can be found in paintings of the period, such as those by Titian, Michelangelo and Hans Baldung Grien. The anatomists also claimed to portray the body in an objective manner, and showed themselves as heroes of the discovery of human knowledge. Rembrandt's painting of Dr Nicholas Tulp is the best-known image of the anatomist as hero. The British empirical tradition in the 18th century saw William Cheselden and William Hunter working with techniques of representation that were intended to guarantee detailed realism. The ambition to portray forms life-size led to massive volumes, such as those by Antonio Mascagni. John Bell, the Scottish anatomist, criticized the size and pretensions of the earlier books and argued for a plain style adapted to the needs of teaching and surgery. Henry Gray's famous Anatomy of 1858, illustrated by Henry Vandyke Carter, aspired to a simple descriptive mode of functional representation that avoided stylishness, resulting in a style of its own. Successive editions of Gray progressively saw the replacement of Gray's method and of all his illustrations. The 150th anniversary edition, edited by Susan Standring, radically re-thinks the role of Gray's book within the teaching of medicine.

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Leonardo's studies of cardiovascular systems, in more than 50 surviving pages from two phases of his research (around 1508-1509 and 1513), are a clear demonstration of his observational genius and progressive deduction of cardiac mechanics and the vascular system. He carried out a detailed hemodynamic study of the aortic valve motion and the role of the Sinus of Valsalva in the closure dynamics of the aortic valve, and he accurately correlated the formation of vortices with the separation of a retarded (shear) layer from the lips of the leaflets. In-vivo verification of vortex formation in the Sinus of Valsalva during the systolic phase awaited the application of modern phase-averaged magnetic resonance imaging techniques. Did Leonardo actually build the glass model he twice mentioned, thus performing the first scientific flow visualization of impulsive vortex formation or other fluid mechanical phenomena? Evidence in support of this possibility can be found in both the unusually schematic style he employed for this suite of drawings and the recent flow imaging results obtained in our laboratory through laserbased imaging techniques.