Deciphering the "David Sign": Intersections in esthetic surgery and renaissance sculpture.

Spotlighting a 500-year-old detail in Michelangelo's "David," this paper delves into the intricate connection between technique and art in the medical field, especially in esthetic surgery. With rapid technological advancement, medical specialties are becoming increasingly segmented, leading to potential oversights in holistic human examination. Drawing from ancient Greek concepts, "Techne," "Ars," and "Episteme" are explored as symbolic representations of the convergence of skill and knowledge. Art, defined as a reflection of human creativity and emotion, was historically intertwined with science, as symbolized by the nine Muses. The Renaissance period, exemplified by works like "David," underlines the profound relationship between art and anatomy. Dr. Gelfman's observations on the "David sign" serve as a testament to the continuous dance between medical science and artistic representation. This paper underscores the timeless value of a comprehensive approach in medical practice, urging professionals to amalgamate technical precision with an artistic understanding of the human form. LEVEL OF EVIDENCE: Level V, opinion expert.

Biocontamination and diversity of epilithic bacteria and fungi colonising outdoor stone and mortar sculptures.

Microbial communities colonising outdoor sculptures form intricate and dynamic ecosystems, which can accelerate the deterioration processes of the artworks and pose challenges to their conservation. In this study, the bacterial and fungal communities colonising the surfaces of five contemporary outdoor sculptures were characterised by high-throughput sequencing. The sculptures, made of marble, granite, Ançã limestone and mortar, are in urban parks and squares in the district of Porto, Portugal. The analysis of the microbial populations revealed great taxonomic diversity and species richness, including in well-preserved sculptures showing few visible traces of contamination. Proteobacteria, namely the genera Pseudomonas and Sphingomonas, were the core taxa common to all the sculptures, while Massilia and Aureobasidium were dominant only in granite. An abundance of pigment-producing microorganisms, such as Deinococcus, Methylobacterium, Rhodotorula and Sporobolomyces, was also found in granite. These are relevant taxonomic groups that can negatively impact stone and mortar artworks. The study was complemented with colourimetric analyses and bioluminescence assays to measure the adenosine triphosphate (ATP) content of samples collected from specific contaminated areas of the sculptures. The characterisation of the microbiomes of sculptures can provide further knowledge on the deterioration risks of this type of artwork in the region and help outline future targeted conservation strategies. KEY POINTS: • Rich and abundant microbiomes expose sculptures' vulnerability to deterioration. • Well-preserved sculptures are at risk of deterioration by pigment-producing taxa. • ATP and colourimetry quickly identified the most relevant contaminated areas.

Una escultura de Juan José Sicre Vélez para honrar al doctor Carlos J. Finlay Barrés / One sculpture of Juan José Sicre Vélez to honor Doctor Carlos J. Finlay Barrés

Los artistas cubanos han dedicado obras de variados géneros para homenajear al doctor Carlos J. Finlay Barrés y su meritorio trabajo investigativo sobre la fiebre amarilla, enfermedad causante de epidemias y defunciones, en su época, en Cuba y otros países. Las artes plásticas tienen una sustancial impronta en reconocimientos al sabio, lo que hace usual su presencia en obras escultóricas del paisaje urbanístico cubano. Entre estas, se destaca por su belleza y localización, la del escultor Juan J. Sicre Vélez. Este trabajo tiene como objetivo contribuir al conocimiento de la obra escultórica dedicada por Sicre al sabio y destacar su trascendental significación para la medicina y la ciencia cubana. La escultura y su temática por su significación para la medicina y la ciencia realzan la identidad cultural de la nación cubana. Su emplazamiento en áreas del Hospital Militar Central Dr. Carlos J. Finlay, en Marianao, tiene simbolismo por ser la localidad donde Finlay desarrolló la mayor parte de las investigaciones conducentes a su teoría sobre el modo de contagio y el agente transmisor de la fiebre amarilla. La obra escultórica es también un hermoso homenaje a los médicos y trabajadores de la salud que prestan servicios médicos humanitarios en Cuba y en otros países. Por su contenido estético y temático, la escultura es un estimable recurso didáctico para desarrollar las estrategias educativas en la formación del personal de la salud(AU)

Cuban artists have dedicated works of various genres to honor Dr. Carlos J. Finlay Barrés and his meritorious investigative work on yellow fever, a disease that causes epidemics and deaths, in its time, in Cuba and other countries. The plastic arts have a substantial mark in recognizing the sage, which makes their presence usual in sculptural works of the Cuban urban landscape. Among these, the one of the sculptor Juan J. Sicre Vélez stands out for its beauty and location. This work aims to contribute to the knowledge of the sculptural work dedicated by Sicre to the sage and highlight its transcendental significance for Cuban medicine and science. The sculpture and its theme due to its significance for medicine and science enhance the cultural identity of the Cuban nation. Its location in areas of the Central Military Hospital Dr. Carlos J. Finlay, in Marianao, has symbolism for being the town where Finlay developed most of the research leading to his theory on the mode of contagion and the transmitting agent of yellow fever. The sculptural work is also a beautiful tribute to the doctors and health workers who provide humanitarian medical services in Cuba and in other countries. Due to its aesthetic and thematic content, sculpture is a valuable didactic resource to develop educational strategies in the training of health personnel(AU)

The portrayal of people with dwarfism in Chinese art.

Dwarfism has been depicted in various Chinese art forms including literature, sculpture, and painting. This article examines several representative Chinese works of art from different ages of Chinese history, in order to glimpse the living situations of people with dwarfism, their professions and social status, as well as the social attitude toward them in China. We highlight "" (Shan Hai Jing, translated as the Classic of Mountains and Seas), a remarkable collection of myths and illustrations which documented the existence of dwarf communities where the residents were capable of producing high-quality grains. Representations from sculptures and paintings frequently captured the images of individuals with dwarfism in royal courts, which showed their remarkable performance skills and social ability. There are also works of art associating dwarfism with rituals. In addition to portraying ordinary individuals with humble social status, there was one particular individual with dwarfism named Yan Zi () who was highly regarded as a figure of wisdom. Throughout the long Chinese history, dwarfism had been portrayed in art as either positive, neutral or derogatory, which reflected the fact that people with dwarfism, while short in stature, are usually intellectually normal, generally skillful, and often talented, in short, like the general population.

Will the shepherd be able to play the alpine horn with that huge goiter (XVI century)?

PURPOSE: There are many of the representations in iconography of individuals with goiters reported in the literature. METHODS: The article describe a unique representation of goiter, as observed by the authors in a sculpture in Italy. RESULTS: In a Nativity, in the upper part of the altar of the Church of the Annunciata, Boccioleto (Val Sermenza, Piedmont, Italy), a horn player with a huge goiter, gladdens the Holy Family. Wooden work by Francesco Antonio d'Alberto, 1694. CONCLUSION: This is an appropriate example of the iconography of "real goiter," since in this case the sculptor had the aim of showing person with goiter.

Effects of Touching Sculptures on the Artistic Appreciation of Collative Emotional/Perceptual Properties / Efeitos do Toque em Esculturas sobre a Apreciação Artística de Propriedades Colativas Emocionais/Perceptivas / Efectos del Toque en Esculturas en relación a la Apreciación Artística de las Propiedades Colativas Emocionales/Perceptivas

Abstract The relationship between physical stimulus and perception is fundamental to understand aesthetic appreciation. This study aimed to examine how the properties of sculptures influence their artistic appreciation. Thirteen participants touched altered sculptures from the series Bichos de Lygia Clark. Participants indicated their perceptions for each stimulus using Semantic Differential Scales (7-point Likert scale): Complexity, Irregularity, Amount of pieces, Interest and Pleasingness. The duration of manipulation was recorded. The results showed that sculptures perceived as having more pieces were the ones judged to have a high level of Complexity and Irregularity. Sculptures evaluated as demonstrating a high level of Complexity and Irregularity were considered more interesting, although less pleasant. Participants tended to spend more time exploring the more complex sculptures. The results indicate that the amount of informational content, represented by the amount of pieces present in the sculpture, can influence the way it is perceived and affect its hedonic value.

Resumo A relação entre estímulo físico e percepção é fundamental para entender a apreciação estética. Este estudo teve como objetivo examinar como propriedades de esculturas influenciam suas apreciações artísticas. Treze participantes tocaram esculturas alteradas da série Bichos de Lygia Clark. Os participantes indicaram suas percepções para cada estímulo usando Escalas de Diferencial Semântico (tipo Likert - 7 pontos): Complexidade, Irregularidade, Quantidade de peças, Interesse e Agradabilidade. A duração da manipulação foi registrada. Os resultados mostraram que esculturas julgadas como tendo maior quantidade de peças foram julgadas como tendo alto nível de Complexidade e Irregularidade. Esculturas avaliadas como demonstrando um alto nível de Complexidade e Irregularidade foram consideradas mais interessantes, embora menos agradáveis. Os participantes tenderam a gastar mais tempo explorando as esculturas mais complexas. Os resultados indicam que a quantidade de conteúdo informacional, representado pela quantidade de peças presente na escultura, pode influenciar o modo como ela é percebida e afetar seu valor hedônico.

Resumen La relación entre el estímulo físico y la percepción es esencial para comprender la apreciación estética. Este estudio tuvo como objetivo examinar cómo las propiedades de las esculturas influyen en su apreciación artística. Trece participantes tocaron esculturas alteradas de la serie Bichos de Lygia Clark. Los participantes manifestaron sus percepciones para cada estímulo utilizando Escalas de Diferencial Semántico (de tipo Likert - 7 puntos): Complejidad, Irregularidad, Cantidad de piezas, Interés y Satisfacción. Se registró la duración de la manipulación. Los resultados apuntaron que las esculturas consideradas con más cantidad de piezas tenían un alto grado de Complejidad e Irregularidad. Las esculturas evaluadas con un alto grado de Complejidad e Irregularidad se consideraron más interesantes, aunque menos agradables. Los participantes tendían a pasar más tiempo explorando las esculturas más complejas. Los resultados indican que la cantidad de contenido informativo, representado por la cantidad de piezas presentes en la escultura, puede influir en la forma de percibirla y afectar su valor hedónico.

Archeology and urology: testimonies of the IV-III century b.C. on La Peyronie's disease.

The discovery of two archaeological objects describing La Peyronie's disease. They come from the archaeological excavation of Pantanacci (Lanuvio, south of Rome), that has returned numerous objects of medical representation dating back to the IV-III sec. B.C.

The antiquity of hydrocephalus: the first full palaeo-neuropathological description.

The Pathology Museum of the University of Florence houses a rich collection of anatomical specimens and over a hundred waxworks portraying pathological conditions occurring in the nineteenth century, when the museum was established. Clinical and autopsy findings of these cases can still be retrieved from the original museum catalogue, offering a rare opportunity for retrospective palaeo-pathological diagnostics. We present a historical case of severe hydrocephalus backed by modern-day anthropological, radiological and molecular analyses conducted on the skeleton of an 18-month-old male infant deceased in 1831. Luigi Calamai (1796-1851), a wax craftsman of La Specola workshop in Florence, was commissioned to create a life-sized wax model of the child's head, neck and upper thorax. This artwork allows us to appreciate the cranial and facial alterations determined by 30 lb of cerebrospinal fluid (CSF) accumulated within the cerebral ventricular system. Based on the autopsy report, gross malformations of the neural tube, tumours and haemorrhage could be excluded. A molecular approach proved helpful in confirming sex. We present this case as the so-far most compelling case of hydrocephalus in palaeo-pathological research.

El cráneo de la mirada mágica y dentadura de jade / The skull of the magic glimpse and its jade teeth

Se presentan dos esculturas prehispánicas de la cultura azteca, la primera en forma de cráneo a la cual se le tallaron y colocaron ojos de diferentes tipos de piedra, también una dentadura completa y bien alineada hecha de jade. En la zona del occipital se distingue el grabado de un rey desconocido, el cual porta un arete, un penacho y un cetro. La segunda escultura es una charola de piedra tallada con incrustaciones de piedras preciosas de jade y rubí que muestra la imagen del mismo rey sostenida por tres personajes parcialmente desdentados padeciendo de dolor dental. Estos eventos demuestran la importancia de la salud bucal en la población prehispánica, particularmente en la cultura azteca, al igual que la relevancia de los aspectos mágicos y religiosos en torno a la muerte.

It is described a couple prehispanic carved solid stone sculptures of theAztec culture, the fi rst one with a human skull shape, with carved andmounted stone eyes, as well as a complete and fi ne lined jade denture.It is also remarked on its occipital area a fi gure of carved unknownking, wearing a mobile stone earring, a feather cap, and a cane. Thesecond stone sculpture is a carved stone plate with jade and ruby carvedmounted stones. This sculpture also shows the same mentioned kingimage, which is supported by three no complete dental (toothless) maleservants, that resemble the three men suff ering dental discomfort. Thesecouple sculpture pieces show the magical and religious aspects of themighty importance of the death to the Aztecs.

Artistic representations of short stature, a tentative diagnosis.

Throughout human history, disease-related short stature has represented a source of fascination. Following the recent advances in genetics and molecular biology, several hundreds of possible causes are now to be considered. We present herein a few examples of the diagnosis approach of such cases from art sources (sculptures, paintings or photographs for the most recent periods), associated or not with biographical data, allowing semiological and anthropological analyses. The explored period spans from antic great civilizations to 19th Century Western societies. The palaeopathological diagnosis method is based upon medical approach. It includes a search for possible associated abnormalities and the distinction between proportioned, mainly related to hormonal disorders (particularly growth hormone deficiency), and non-proportioned cases especially associated with genetic skeletal dysplasias. Among this latter category, achondroplasia is the most represented cause of short stature. Other more exceptional etiologies are also reported.

Reconstrução facial forense: comparação entre tabelas de espessuras de tecidos moles faciais / P

As Ciências Forenses empregam a técnica de Reconstrução Facial buscando aumentar as possibilidades de reconhecimento humano. Após análise antropológica, a face é esculpida sobre o crânio esqueletizado e divulgada na mídia. Existem várias metodologias para a modelagem do rosto e das características da face, bem como vários dados de espessuras de tecidos moles que auxiliam no contorno facial. Com o intuito de investigar se existe uma metodologia que favoreça mais reconhecimentos e que permita uma maior semelhança com o indivíduo, este trabalho buscou comparar reconstruções faciais manuais feitas com duas abordagens para o preenchimento dos tecidos moles (métodos Americano e de Manchester) e para a predição dos olhos, nariz, boca e orelhas. Também buscou comparar reconstruções realizadas com quatro tabelas de espessuras de tecidos moles, desenvolvidas para brasileiros por estudos prévios, observando a possibilidade de unir esses dados para auxiliar na reconstrução. Um quarto objetivo foi averiguar se existe influência do sexo e do conhecimento anatômico ou forense na frequência de reconhecimentos. O estudo foi dividido em duas fases. Na primeira, duas reconstruções foram realizadas para dois indivíduos alvos (um homem e uma mulher) com os métodos Americano e de Manchester, aplicando dois guias para olhos, nariz, boca e orelhas. As reconstruções foram avaliadas por quarenta indivíduos (homens e mulheres, divididos em 4 grupos - alunos de graduação em Odontologia que não passaram pela disciplina de Odontologia Legal, alunos

de graduação em Odontologia que passaram pela disciplina, especialistas em Odontologia Legal e indivíduos que não possuíam conhecimento de anatomia humana) por meio dos testes de reconhecimento e semelhança. Para o alvo feminino, as frequências de reconhecimentos foram 20% e 10% para os métodos Americano e de Manchester, respectivamente; para o alvo masculino, as frequências foram 35% e 17,5%. Em relação à semelhança, as medianas foram menores que 3 (em uma escala de 1 a 5); entretanto, foi verificada uma exceção para a escultura feita com o método Americano para o alvo masculino, a qual apresentou mediana 3. Na segunda fase, reconstruções faciais para quatro alvos (dois homens e duas mulheres) foram obtidas com o método Americano, considerando as quatro tabelas de espessuras de tecidos moles para brasileiros. Dezesseis reconstruções foram avaliadas por cento e vinte indivíduos, também pelos testes de reconhecimento e semelhança. Assim como na fase I, foram considerados o sexo e o grupo dos avaliadores. Para o alvo 1, as proporções de acertos são significativamente maiores para reconstruções feitas com as tabelas de cadáveres (44% e 38%) em relação às com os dados de exames de imagem. Para o alvo 4, as proporções de acertos com os dados de cadáveres (Tedeschi-Oliveira et al.) e com os de ressonância magnética foram significativamente maiores comparados às reconstruções com dados de tomografias computadorizadas. Em relação à semelhança, somente o alvo 1 mostrou diferenças significativas de frequências de semelhança leve entre reconstruções. Além disso, não houve influência nem do sexo, nem do conhecimento de anatomia nas frequências de reconhecimentos corretos. Espera-se que a tabela proposta possa ser empregada para a população brasileira.

Forensic Sciences employ Forensic Facial Reconstruction technique to increase possibilities in human recognition. After anthropological analysis, the face can be created on the skeletonized skull and published in the media. There are several methodologies for facial modeling and facial features as well as multiple soft tissue thicknesses data that aid in facial contour. In order to investigate whether a methodology allows more recognition and greater resemblance to a person, this study aimed to compare manual facial reconstructions made with two approaches of filling facial soft tissue (American and Manchester methods) and two approaches to predict the eyes, nose, mouth and ears. This study also intended to compare facial reconstructions carried out with four Brazilian soft tissue thicknesses data, that were developed by previous studies considering the possibily of merging these data for Forensic Reconstruction purpose. A fourth aim was to determine whether sex and anatomical or Forensic knowledge of assessor can influence in frequency of recognition. This study was divided into two phases. In the first phase, two reconstructions were performed for two targets (one male and one female) with American and Manchester methods and applying two guides for eyes, nose, mouth and ears. The reconstructions were evaluated by forty assessors (both sex, divided into four groups - undergraduated students in dentistry who did not study Forensic Dentistry,

undergraduated students in dentistry who have gone through the subject of Forensic Dentistry, experts in Forensic Dentistry and individuals who did not have knowlegde of human anatomy) through the recognition and resemblance tests. For female target, frequencies of recognitions were 20% and 10% for American and Manchester methods, respectively; for male target, frequencies were 35% and 17.5%, with significant differences between the proportions of correct responses. Regarding resemblance rates, medians were less than 3 (on a scale from 1 to 5); however, it was found an exception for the sculpture made with the American method for male target, which had median 3. Thus, American method was used for the reconstructions of phase II. In this second phase, facial reconstructions for four targets (two male and two female) were obtained with the American method, considering the four Brazilian soft tissue thicknesses data. Sixteen facial reconstructions were evaluated by a hundred and...