The Italian master Leonardo da Vinci and his early understanding of the brachial plexus

Nwaogbe, Chidinma; D’Antoni, Anthony V.; Oskouian, Rod J.; Tubbs, R. Shane

doi:10.1007/s00381-017-3581-0

Cited by 4 publications

(4 citation statements)

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“…The posterior cord was the most cranial, the lateral cord was central, and the medial cord was caudal. 9,10 Leonardo da Vinci’s drawings had the same anatomy as those found in our dissections.…”

Section: Discussionmentioning

confidence: 55%

“…Several authors described the posterior division of the superior trunk with a cranial origin like us. 4,9,10,27-31 Some authors were radical in their conclusions; Hanna, 31 for example, stated that the illustrations of the brachial plexus urgently need to be corrected because the posterior division of the superior trunk is always situated between the suprascapular nerve and the anterior division. We share this same opinion; however, it was possible to identify in our dissections that not only the posterior division of the superior trunk had a cranial origin, but all posterior divisions of the adult brachial plexus had a cranial origin concerning their respective trunks (Figure 4).…”

Section: Discussionmentioning

confidence: 99%

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The 2-Dimensional and 3-Dimensional Anatomy of the Adult Brachial Plexus Divisions and Cords

Neto

Eiras

et al. 2020

Hand (New York, N,Y.)

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Background: The objective of this work was to perform a critical review of the 2-dimensional and 3-dimensional anatomy of the adult brachial plexus divisions and cords. Methods: Twelve adult brachial plexuses from fresh cadavers were dissected. All were male and aged between 30 and 50 years. Only corpses without brachial plexus injuries were selected. The purpose of the dissections was to identify the origin of the anterior and posterior divisions of the adult brachial plexus in their respective trunks, as well as the positioning of the posterior, lateral, and medial cords. Results: The posterior division of all trunks had a cranial and dorsal origin, while the anterior division of all trunks had a caudal and ventral origin. The posterior cord was the most cranial of all, the lateral cord was central, and the medial cord was the most caudal of all cords. The posterior division of the superior trunk was always between the suprascapular nerve and the anterior division. Conclusions: Brachial plexus diagrams in most textbooks and papers are different from what was found in our dissections. Contrary to the known diagram, the posterior divisions always had a cranial origin in the superior, middle, and inferior trunks.

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Section: Discussionmentioning

confidence: 55%

Section: Discussionmentioning

confidence: 99%

The 2-Dimensional and 3-Dimensional Anatomy of the Adult Brachial Plexus Divisions and Cords

Neto

Eiras

et al. 2020

Hand (New York, N,Y.)

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“…In his drawings, he represented the complexity of the brachial plexus, showing its organization in trunks and cords, as well as the terminal branches with their cutaneous territories of innervation. He also recorded notes on the physiology of the peripheral nerves and the effects of their lesions in different parts of the upper limb (Nwaogbe et al, ). His portrayal of the sympathetic trunk was one of the earliest, successfully delineating the branches of the lumbosacral plexus such as the femoral, obturator, and lateral femoral cutaneous nerves, although with some inaccuracies, for example, the representation of a duplicated sciatic nerve (Rai et al, ).…”

Section: Leonardo and Anatomymentioning

confidence: 99%

Marco antonio della torre and leonardo da vinci

et al. 2019

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Thanks to collaborations with anatomists and the possibility of performing public dissections during the Renaissance period, artists started to represent the human body more accurately and objectively in their drawings. This cultural change provided the basis for subsequent advances in education and learning as well as the institution of an obligatory anatomy course in the Academies of Arts. The encounter in Pavia between the eclectic artist Leonardo Da Vinci (1452–1519) and the physician Marco Antonio Della Torre (1481–1511), Professor of Theoretical Medicine at the University of Padova, who near the end of his short life founded the “Anatomical School” of the University of Pavia, could be considered a perfect example of this collaboration. According to the historian Giorgio Vasari, while Della Torre practiced dissection, Leonardo made a book of drawings with red chalk annotated by pen. All these anatomical drawings by Leonardo, preserved at Windsor Castle as the property of the Queen of England, date from 1513, after the death of Della Torre. During the same period, Leonardo started his own dissections in the crypt of Santa Maria Nuova in Florence with his anatomical knowledge already mature and consolidated. The aim of the present study is to present the life of Della Torre, his intense scientific activity between Padova and Pavia, and his relationship with Leonardo Da Vinci. In particular, we found the only available manuscript of Della Torre in the Marciana library of Venice. Clin. Anat. 32:744–748, 2019. © 2019 Wiley Periodicals, Inc.

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“…Unfortunately, he did not manage to publish the collection and left it to Francesco Melzi. Francesco's heirs sold the collection to the sculptor Pompeo Leoni (1533-1603), and today the drawings are kept in the Windsor's Royal Museum and form part of the private collection of the Royal family [2][3][4][5].…”

Section: Introductionmentioning

confidence: 99%

Marc’Antonio Della Torre and Leonardo Da Vinci: an encounter that changed the history of medicine, art and anatomy

Viviani

Gallo

Mazza³

2021

Childs Nerv Syst

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The Italian master Leonardo da Vinci and his early understanding of the brachial plexus

Cited by 4 publications

References 9 publications

The 2-Dimensional and 3-Dimensional Anatomy of the Adult Brachial Plexus Divisions and Cords

The 2-Dimensional and 3-Dimensional Anatomy of the Adult Brachial Plexus Divisions and Cords

Marco antonio della torre and leonardo da vinci

Marc’Antonio Della Torre and Leonardo Da Vinci: an encounter that changed the history of medicine, art and anatomy

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