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Leonardo on the Human Body
"It is a miracle that any one man should have observed, read, and written down so much in a single lifetime." — Kenneth Clark
Painter, sculptor, musician, scientist, architect, engineer, inventor . . . perhaps no other figure so fully embodies the Western Ideal of "Renaissance man" as Leonardo da Vinci. Leonardo was not content, however, to master an artistic technique or record the mechanics of a device; he was driven by an insatiable curiosity to understand why. His writings, interests, and musings are uniformly characterized by an incisive, probing, questioning mind. It was with this piercing intellectual scrutiny and detailed scientific thoroughness that Leonardo undertook the study of the human body.
This exceptional volume reproduces more than 1,200 of Leonardo's anatomical drawings on 215 clearly printed black-and-white plates. The drawings have been arranged in chronological sequence to display Leonardo's development and growth as an anatomist. Leonardo's text, which accompanies the drawings — sometimes explanatory, sometimes autobiographical and anecdotal — has been translated into English by the distinguished medical professors Drs. O'Malley and Saunders. In their fascinating biographical introduction, the authors evaluate Leonardo's position in the historical development of anatomy and anatomical illustration. Each plate is accompanied by explanatory notes and an evaluation of the individual plate and an indication of its relationship to the work as a whole.
While notable for their extraordinary beauty and precision, Leonardo's anatomical drawings were also far in advance of all contemporary work and scientifically the equal of anything that appeared well into the seventeenth century. Unlike most of his predecessors and contemporaries, Leonardo took nothing on trust and had faith only in his own observations and experiments. In anatomy, as in his other investigations, Leonardo's great distinction is the truly scientific nature of his methods. Herein then are over 1,200 of Leonardo's anatomical illustrations organized into eight major areas of study: Osteological System, Myological System, Comparative Anatomy, Nervous System, Respiratory System, Alimentary System, Genito-Urinary System, and Embryology.
Artists, illustrators, physicians, students, teachers, scientists, and appreciators of Leonardo's extraordinary genius will find in these 1,200 drawings the perfect union of art and science. Carefully detailed and accurate in their data, beautiful and vibrant in their technique, they remain today — nearly five centuries later — the finest anatomical drawings ever made.
Painter, sculptor, musician, scientist, architect, engineer, inventor . . . perhaps no other figure so fully embodies the Western Ideal of "Renaissance man" as Leonardo da Vinci. Leonardo was not content, however, to master an artistic technique or record the mechanics of a device; he was driven by an insatiable curiosity to understand why. His writings, interests, and musings are uniformly characterized by an incisive, probing, questioning mind. It was with this piercing intellectual scrutiny and detailed scientific thoroughness that Leonardo undertook the study of the human body.
This exceptional volume reproduces more than 1,200 of Leonardo's anatomical drawings on 215 clearly printed black-and-white plates. The drawings have been arranged in chronological sequence to display Leonardo's development and growth as an anatomist. Leonardo's text, which accompanies the drawings — sometimes explanatory, sometimes autobiographical and anecdotal — has been translated into English by the distinguished medical professors Drs. O'Malley and Saunders. In their fascinating biographical introduction, the authors evaluate Leonardo's position in the historical development of anatomy and anatomical illustration. Each plate is accompanied by explanatory notes and an evaluation of the individual plate and an indication of its relationship to the work as a whole.
While notable for their extraordinary beauty and precision, Leonardo's anatomical drawings were also far in advance of all contemporary work and scientifically the equal of anything that appeared well into the seventeenth century. Unlike most of his predecessors and contemporaries, Leonardo took nothing on trust and had faith only in his own observations and experiments. In anatomy, as in his other investigations, Leonardo's great distinction is the truly scientific nature of his methods. Herein then are over 1,200 of Leonardo's anatomical illustrations organized into eight major areas of study: Osteological System, Myological System, Comparative Anatomy, Nervous System, Respiratory System, Alimentary System, Genito-Urinary System, and Embryology.
Artists, illustrators, physicians, students, teachers, scientists, and appreciators of Leonardo's extraordinary genius will find in these 1,200 drawings the perfect union of art and science. Carefully detailed and accurate in their data, beautiful and vibrant in their technique, they remain today — nearly five centuries later — the finest anatomical drawings ever made.
- GenresArtNonfictionScience
512 pages, Paperback
First published September 1, 1983
About the author
Leonardo da Vinci
922 books1,520 followersIt was on April 15, 1452, that Leonardo was born in the town of Vinci, Republic of Florence, in what is now in Italy, the illegitimate son of a notary and a barmaid. It is from his birthplace that he is known as Leonardo da Vinci. Leonardo seemed to master every subject to which he turned his attention: he was a painter, draftsman, sculptor, architect, and engineer, wrote poetry and stories: the prototype Renaissance man!
His Last Supper (1495-97) and Mona Lisa (La Gioconda, 1503-06) are among the most popular paintings from the Renaissance. He and his rival Michelangelo did great service to the medical arts by accurate paintings of dissections, which were only occasionally allowed by the Church. Yet, his artistry appeared to be an afterthought, as he frequently left his works unfinished, and only about fifteen of his paintings survive. His notebooks reveal that he was centuries ahead of his time in mechanics and physic, fortifications, bridges, weapons, and river diversions to flood the enemy, which aided Italian city-states in their many wars.
Leonardo was an early evolutionist regarding fossils. Through his careful observations he noted that “if the shells had been carried by the muddy deluge they would have been mixed up, and separated from each other amidst the mud, and not in regular steps and layers — as we see them now in our time.” Leonardo reasoned that what is now dry land, where these aquatic fossils were found, must once have been covered by seawater.
He was for a short time accused of homosexuality: there is no evidence Leonardo had any sexual interest in women. As he wrote in his notebooks, “The act of procreation and anything that has any relation to it is so disgusting that human beings would soon die out if there were no pretty faces and sensuous dispositions.”
And what of his religion? It is significant that at the end of his life he felt he had much spiritual negligence to atone for. His first biographer, Giorgio Vasari, wrote in 1550:
"Finally, …feeling himself near to death, [he] asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and … was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence … showed withal how much he had offended God and mankind in not having worked at his art as he should have done."
There was much skepticism in Renaissance Italy at the time, and Leonardo was an intellectual genius, not just an artistic genius. While there was great intellectual freedom during the Italian Renaissance, there were limits as long as the Dominicans, the “Hounds of the Lord,” were active. This semblance of a deathbed conversion, by so critical a thinker and so great a genius as Leonardo, who would have nothing to lose by professing piety all his life, can only mean that during his prime years he was a secret freethinker.
Leonardo died quietly on the 2 of May, 1519, a few weeks following his 67th birthday.
His Last Supper (1495-97) and Mona Lisa (La Gioconda, 1503-06) are among the most popular paintings from the Renaissance. He and his rival Michelangelo did great service to the medical arts by accurate paintings of dissections, which were only occasionally allowed by the Church. Yet, his artistry appeared to be an afterthought, as he frequently left his works unfinished, and only about fifteen of his paintings survive. His notebooks reveal that he was centuries ahead of his time in mechanics and physic, fortifications, bridges, weapons, and river diversions to flood the enemy, which aided Italian city-states in their many wars.
Leonardo was an early evolutionist regarding fossils. Through his careful observations he noted that “if the shells had been carried by the muddy deluge they would have been mixed up, and separated from each other amidst the mud, and not in regular steps and layers — as we see them now in our time.” Leonardo reasoned that what is now dry land, where these aquatic fossils were found, must once have been covered by seawater.
He was for a short time accused of homosexuality: there is no evidence Leonardo had any sexual interest in women. As he wrote in his notebooks, “The act of procreation and anything that has any relation to it is so disgusting that human beings would soon die out if there were no pretty faces and sensuous dispositions.”
And what of his religion? It is significant that at the end of his life he felt he had much spiritual negligence to atone for. His first biographer, Giorgio Vasari, wrote in 1550:
"Finally, …feeling himself near to death, [he] asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and … was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence … showed withal how much he had offended God and mankind in not having worked at his art as he should have done."
There was much skepticism in Renaissance Italy at the time, and Leonardo was an intellectual genius, not just an artistic genius. While there was great intellectual freedom during the Italian Renaissance, there were limits as long as the Dominicans, the “Hounds of the Lord,” were active. This semblance of a deathbed conversion, by so critical a thinker and so great a genius as Leonardo, who would have nothing to lose by professing piety all his life, can only mean that during his prime years he was a secret freethinker.
Leonardo died quietly on the 2 of May, 1519, a few weeks following his 67th birthday.
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Displaying 1 - 7 of 7 reviews
March 21, 2023
I really enjoyed this book- I picked it up in the library at lunch today and thought it would be a fun book to reference for studies in my sketchbook. I didn’t intend on reading all the text, but I couldn’t help myself. I really loved learning about Leonardo Da Vinci’s sketches and how accurate they were. I also loved reading some of his own words throughout the book was really cool. And of course the pictures were super cool too. I finally fulfilled my dream of sitting in the library drawing skeletons from a fancy book so that was awesome. My only complaint is that I wish this book was longer. I read it all in one sitting actually.
(Wow I read a lot today. Wow)
(Wow I read a lot today. Wow)
February 27, 2016
A fascinating chapter in the history of anatomical representation. The sketches failed to exert notable influence over European representations of the body, as Leonardo never published. Nevertheless, it's fascinating to see an artist applying the visual realism that had been developing in Europe since Giotto to the human body some fifty years or so before Vesalius. The same forces that converged to make Vesalius's De Humani Corporis Fabrica possible (visual realism and scientific skepticism, among others) were present in nascent form in the early 1500s, making Leonardo's anatomical achievement possible. It's extraordinary to see the great artist "awakening" to the intricacies of the biological structure that contains him.
January 15, 2009
saw this one while I was wandering in the stacks and just had to take it home. It's the book on anatomy that da Vinci never published, but had several finished plates for. This was a translation of each plate and his notes along with a photo of each plate. It's interesting to see what his fixations were in a time when there was not much accuracy about anatomy. All of his bodies are "exaggerated"-old men with very muscular bodies, etc.Just kind of a fun read to pick up and peruse.
May 11, 2016
I picked up this book in researching material for an art history course. The major problem was finding a way to get the english translations of the notebooks (in this case anatomy) to match up with the actual illustrations on the manuscripts. This book did the trick!
July 30, 2014
Very entertaining and informative book. May be particularly enjoyable if you are into: 1. Art; 2. History; 3. Anatomy (being #2 the weakest subject of the book -- but still engaging). A four. Out of five.
December 9, 2013
He was a genius. Simply spectacular.
April 23, 2012
3.5 stars.
Displaying 1 - 7 of 7 reviews