On the purported discovery of the bronchial circulation by Leonardo da Vinci

1992 ◽  
Vol 73 (3) ◽  
pp. 1196-1201 ◽  
Author(s):  
W. Mitzner ◽  
E. Wagner

Among modern physiologists and anatomists, there has been a nearly universal acceptance that Leonardo da Vinci was the first to identify the anatomy of the bronchial circulation. However, because of certain ambiguities in both his anatomic drawing that was supposed to have shown this circulation and the accompanying descriptive text, we questioned whether he really could have been the first to discover this small but important vasculature. To address this question, we set out to repeat Leonardo's dissections in the ox. We reasoned that perhaps the normally tiny bronchial vessels would be considerably more noticeable in this very large species. Our dissections, however, failed to provide any evidence that Leonardo's drawing was that of the bronchial circulation. Furthermore we observed a set of distinct small pulmonary veins to the left upper and right middle lobes that Leonardo, given his lack of understanding of the function of the lung and its circulation, could have easily mistaken for a separate circulation. We thus conclude that Leonardo da Vinci did not describe the anatomy of the bronchial circulation. We believe that the first person to clearly and unequivocally describe the anatomy of this circulation was the Dutch Professor of Anatomy and Botany, Frederich Ruysch.

Author(s):  
Margaret Dalivalle ◽  
Martin Kemp ◽  
Robert B. Simon

Chapter 1 presents a first-person account of the discovery of the Salvator Mundi, from its appearance as a copy at an American auction to its establishment as the lost original painting by Leonardo da Vinci. Robert Simon presents a chronological account of his involvement with the acquisition, research, conservation, and scholarly verification of the work over the period from 2005 to 2011, when the painting was included in the landmark exhibition at the National Gallery, Leonardo da Vinci Painter at the Court of Milan. The modern provenance of the painting is reviewed, focusing on its tenure in the Cook Collection of Richmond, its sale in 1958, and its reappearance in New Orleans. The conservation of the painting by Dianne Dwyer Modestini is discussed, as well as the research process, and the introduction of the painting to art historians, Leonardo specialists, the press, and, eventually, the public.


1994 ◽  
Vol 76 (4) ◽  
pp. 1836-1838 ◽  
Author(s):  
N. B. Charan ◽  
P. Carvalho ◽  
P. G. Agostoni

Author(s):  
J. A. Nowell ◽  
J. Pangborn ◽  
W. S. Tyler

Leonardo da Vinci in the 16th century, used injection replica techniques to study internal surfaces of the cerebral ventricles. Developments in replicating media have made it possible for modern morphologists to examine injection replicas of lung and kidney with the scanning electron microscope (SEM). Deeply concave surfaces and interrelationships to tubular structures are difficult to examine with the SEM. Injection replicas convert concavities to convexities and tubes to rods, overcoming these difficulties.Batson's plastic was injected into the renal artery of a horse kidney. Latex was injected into the pulmonary artery and cementex in the trachea of a cat. Following polymerization the tissues were removed by digestion in concentrated HCl. Slices of dog kidney were aldehyde fixed by immersion. Rat lung was aldehyde fixed by perfusion via the trachea at 30 cm H2O. Pieces of tissue 10 x 10 x 2 mm were critical point dried using CO2. Selected areas of replicas and tissues were coated with silver and gold and examined with the SEM.


1910 ◽  
Vol 69 (1782supp) ◽  
pp. 138-140
Author(s):  
Edward P. Buffet
Keyword(s):  
Da Vinci ◽  

2019 ◽  
Vol 137 (11) ◽  
pp. 1332
Author(s):  
Christopher W. Tyler
Keyword(s):  
Da Vinci ◽  

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