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More Than A Neuroanatomical Representation in The Creation of Adam by Michelangelo Buonarroti, A Representation of the Golden Ratio

Michelangelo Buonarroti (1475–1564) was a master anatomist as well as an artistic genius. He dissected numerous cadavers and developed a profound understanding of human anatomy. Among his best‐known artworks are the frescoes painted on the ceiling of the Sistine Chapel (1508–1512), in Rome. Currently, there is some debate over whether the frescoes merely represent the teachings of the Catholic Church at the time or if there are other meanings hidden in the images. In addition, there is speculation regarding the image of the brain embedded in the fresco known as “The Creation of Adam,” which contains anatomic features of the midsagittal and lateral surfaces of the brain. Within this context, we report our use of Image Pro Plus Software 6.0 to demonstrate mathematical evidence that Michelangelo painted “The Creation of Adam” using the Divine Proportion/Golden Ratio (GR) (1.6). The GR is classically associated with greater structural efficiency and is found in biological structures and works of art by renowned artists. Thus, according to the evidence shown in this article, we can suppose that the beauty and harmony recognized in all Michelangelos works may not be based solely on his knowledge of human anatomical proportions, but that the artist also probably knew anatomical structures that conform to the GR display greater structural efficiency. It is hoped that this report will at least stimulate further scientific and scholarly contributions to this fascinating topic, as the study of these works of art is essential for the knowledge of the history of Anatomy. Clin. Anat. 28:702–705, 2015.

Recognition memory and DNA damage in undernourished young rats

This study evaluated the recognition memory and the levels of DNA damage (blood and hippocampus) in undernourished young Wistar rats. The experiment was conducted along 14-week with rodents divided in control group (CG, n=8) and undernourished group (UG, n=12) which was submitted to caloric restriction. Nutritional status for undernutrition was defined by Body Mass Index (BMI) ≤0.45g/cm2 and by weighting the organs/tissue (liver, spleen, intestine, peritoneal fat, kidney and encephalon). The Novel Object Recognition Test assessed recognition memory and the Comet Assay evaluated the levels of DNA damage. Student t test, 2-way ANOVA and Pearsons correlation analysis were used and the significance level was of p<0.05. The UG showed lower BMI and organ/tissue weights than CG (p<0.001). In short-term memory, the recognition rate was higher in the UG (p<0.05), only after 4 weeks. In the long-term memory, again recognition rate was higher in the UG than the CG, after 4 weeks (p<0.001) and 14 weeks (p<0.01). The UG showed decreased levels of DNA damage in the blood (p<0.01) and increased levels in the hippocampus (p<0.01). We concluded in this study that the undernutrition by caloric restriction did not cause impairment in recognition memory, however induced DNA damage in the hippocampus.

Michelangelo, the Last Judgment fresco, Saint Bartholomew and the Golden Ratio

Art and anatomy were particularly closely intertwined during the Renaissance period and numerous painters and sculptors expressed themselves in both fields. Among them was Michelangelo Buonarroti (1475–1564), who is renowned for having produced some of the most famous of all works of art, the frescoes on the ceiling and on the wall behind the altar of the Sistine Chapel in Rome. Recently, a unique association was discovered between one of Michelangelos most celebrated works (The Creation of Adam fresco) and the Divine Proportion/Golden Ratio (GR) (1.6). The GR can be found not only in natural phenomena but also in a variety of human‐made objects and works of art. Here, using Image‐Pro Plus 6.0 software, we present mathematical evidence that Michelangelo also used the GR when he painted Saint Bartholomew in the fresco of The Last Judgment, which is on the wall behind the altar. This discovery will add a new dimension to understanding the great works of Michelangelo Buonarroti. Clin. Anat. 28:967–971, 2015.

The Effects of Passive Smoking on Laryngeal and Tracheal Mucosa in Male Wistar Rats During Growth: An Experimental Study

Cigarettes contain toxic and carcinogenic substances. In this context, cigarette smoking, and similar activities, are associated with numerous pathologies, being considered a risk factor in up to 10% of the total number of deaths in adults. Recent evidence suggests that the exposure of children to smoking in the early days of their development causes many diseases. Using light microscopy, this study aims to analyze the possible histopathological effects of an experimental model of chronic inhalation of cigarette smoke (passive smoking) on the laryngeal and tracheal mucosa of young Wistar rats. A total of 24 young Wistar rats were studied for a period of 120 days. The animals were divided into two groups: passive smoking (nu2009=u200916) and control (nu2009=u20098). The level of exposure to cigarette smoke was evaluated from the urinary cotinine level. Although no cancerous lesions were identified, histopathological analysis in the laryngeal and tracheal mucosa of all the animals in the experimental group showed that the proportion of moderate and focal inflammation was higher in animals exposed to chronic inhalation of cigarette smoke (Pu2009=u20090.041). Histopathologic analysis revealed moderate and focal inflammatory lesions in the region of the infraglottic mucosa in exposed animals, although without dysplastic or neoplastic lesions in the laryngeal and tracheal mucosa.

The hidden symbols of the female anatomy in Michelangelo Buonarroti's ceiling in the Sistine Chapel

A number of published articles have suggested that each element of Renaissance art contains an inner meaning. Some of these elements include the choice of theme and protagonists, faces selected for the characters, colors used, species of flowers and trees chosen, animals depicted, positions of the elements, posture of the characters and their gestures, juxtapositions in the scenes, and even the very scenario or landscape. All of these elements are thought to have hidden meanings. In this context, this manuscript presents a new hypothesis suggesting that Michelangelo Buonarroti (1475–1564) may have concealed symbols associated with female anatomy in the ceiling of the Sistine Chapel (painted 1508–1512) in Rome. Thus, this paper is useful to better understand the history of anatomy and corroborates recent descriptions that have suggested the possible existence of anatomic figures concealed in many of Michelangelos works. Clin. Anat. 29:911–916, 2016.

A self-caricature of michelangelo buonarroti hidden in the portrait of vittoria colonna: A Hidden Self-Caricature of Michelangelo

The specialized literature has described how the great anatomist par excellence, Michelangelo Buonarroti (1475–1564), like many other renowned artists of his time, included a self‐portrait in many of his works. This article presents novel evidence that Michelangelo inserted his self‐portrait into a sketch of his close friend, Vittoria Colonna (1490–1547). This work, made by Michelangelo in 1525, is currently in the collection of the British Museum in London, England. This self‐portrait of Michelangelo can serve as a tool for analyzing the artists probable bodily dimensions and even his state of health during this period of his life. Clin. Anat. 31:335–338, 2018.

Pagan symbols associated with the female anatomy in the Medici Chapel by Michelangelo Buonarroti

Numerous studies have shown that many works of art from the Renaissance period contain hidden symbols and codes that could have religious, mathematical and/or pagan significance and even anatomical allusions. In this context, the present manuscript offers new evidence that the great genius of anatomy, Michelangelo Buonarroti (1475–1564), included pagan symbols associated with female anatomy in the funerary monuments found in the Sagrestia Nuova/Medici Chapel (1519–1533) in Florence, Italy. The interpretation of the symbols provided in this study will interest those with a passion for the history of anatomy. Clin. Anat. 30:572–577, 2017.

The clival canal

, a clival canal was identified in 1.6% of skulls and there is limited in-formation on bony canals in the occipital part of the clivus. Moreover, the presence of clival canal hasn’t been reported in classic anatomical textbooks.The finding of a clival canal might interfere with neurosur-gical operations in the clival region and possibly provoke symp-toms of the basilar artery, as well as of the basilar plexus

A self-portrait of Michelangelo Buonarroti hidden in a drawing from the Ashmolean Museum : A self-portrait of Michelangelo Buonarroti

The discovery was recently announced in the scientific literature of a self‐caricature of the great Renaissance artist and genius of human anatomy, Michelangelo Buonarroti (1475–1564), concealed in a drawing from 1525. This drawing is held in the collection of the British Museum in London, England. In it, the artist portrayed the Marchesa di Pescara, Vittoria Colonna (1490–1547). The present article considers evidence that Michelangelo may have depicted himself in another portrait of Vittoria Colonna, dated to approximately 1522, which is currently in the collection of the Ashmolean Museum in Oxford, England. This concealed silhouetted figure displays physical features strikingly similar to those depicted in portraits of Michelangelo by his contemporaries, and in the description of the artist by Michelangelos biographer, Giorgio Vasari (1511–1574): the large body, the shape of the face, the beard and the flattened nose. In this context, the present article could serve to facilitate analyses of the physical form and even of the state of health (from 1522) of one of the foremost anatomists of the Renaissance. Clin. Anat., 2018.

Michelangelo buonarroti's code in the frescoes of the sistine chapel - an allusion to gematria of the hebrew/greek alphabet and the Golden Ratio : Michelangelo's code in the Sistine Chapel

According to Giorgio Vasari (1511–1574), the great genius of anatomy, Michelangelo Buonarroti (1475–1564), in painting the frescoes on the ceiling of the Sistine Chapel (1508–1512), demonstrated to the world a new dimension/perspective of painting, especially in the sublime manner with which the artist represented the anatomical details of the characters that made up his frescoes. Since then, the Sistine Chapel has received millions of tourists annually, who marvel at the anatomical beauty of the characters depicted on its ceiling. It has also received many scholars of art and even anatomists, who have often tried to infer theses and explanations regarding Michelangelos real intentions in elaborating this great work. However, even after five centuries, the Vaticans own official explanations of the true intentions of the artist remain quite uncertain. In an attempt to elucidate Michelangelos possible intentions in the design of this memorable work, this article presents unpublished evidence that all the frescoes on the ceiling of the Sistine Chapel were organized by the artist according to a code based on the number of characters in each fresco, the gematria of the Hebrew/Greek alphabet, and the Golden Ratio. This decoding process could reveal a key factor influencing the artists intentions in ordering the elements in this work. Clin. Anat. 31:948–955, 2018.