By da Vinci Leonardo; Wells, F. C.; da Vinci Leonardo

Leonardo's middle reports signify the top of his anatomical endeavours. They combine structural shape and dynamic functionality in a manner that known as upon his vast adventure and information of hydrology, engineering, arithmetic and architectural layout. In his paintings at the center, his use of inventive diagrams in addition to unique representational drawings is cleverly mixed with rigorously crafted verbal Read more...


This ebook positive aspects all sixty four of Leonardo's drawings at the center and its body structure, observed by means of translations of his accompanying notes. a number of the illustrations are in comparison with photos generated Read more...

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His persistent encouragement to publish this work has been the main stimulus for its emergence. For all I am extremely grateful. Dr. Domenico Laurenza and Dr. Matthew Landrus have supported and informed me along the way. Their friendship I treasure and their knowledge I respect. My thanks go to both for their enduring belief in the project. Professor Francis Ames-Lewis’s kindness and support is greatly appreciated. My medical training and surgical experience as a heart surgeon have enabled informed interpretation of the drawings.

He shows that no organ had ever been subjected to such remorseless visual enquiry and functional interrogation as Leonardo devoted to the heart. The fruits of the dialogue across half a millennium go beyond the clarification of Leonardo’s historical eye. How Leonardo looked and what he saw can still hold surprises for the most professional of specialists. His description of the mitral valve encouraged Francis Wells to look again, to re-ask a question that seemed long since to have been put to bed.

Permission by the Royal Collection to reproduce all of the heart drawings, their related transcriptions and translations, and several other manuscript pages and drawings has been essential to the project. Karen Lawson, Picture Library Supervisor in the Royal Library, gave her time to gather the images, and for that I am also grateful. Special thanks must go to Prof. Carlo Pedretti and the family of Dr. Kenneth Keele for allowing the use of their transliterations and translations of Leonardo’s original notes; theirs was seminal work and remains the gold standard for the understanding of Leonardo’s writing.

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