Re: style versus substance in artistic depiction

Were camptodactyly and boutonniere deformity considered pathological in late fifteenth century Italy? Evidence from the sculptures of Francesco di Simone Ferrucci (1437-1493)

Representations of disease in Renaissance paintings have been discussed in medical literature, in the context of historical epidemiology, as potential sources of information about the incidence and appearance of particular conditions in earlier times. The present study seeks to show how Renaissance art can also contribute to historical nosology by casting light on the question of whether particular conditions recognized as abnormal today were understood as pathological in the past. The hands of two Renaissance Madonna figures are examined in sculptures produced by Francesco di Simone Ferrucci (1437-1493). Because the Virgin Mary was considered physically perfect by believers, and because Francesco was a successful producer of devotional sculptures for a wide audience, it is highly probable that any abnormal conditions found in the hands of Madonnas sculpted by him would not have been regarded as pathological at the time. The sculptures examined appear to depict camptodactyly and boutonniere deformity in the hands of Madonna figures. These uncommon conditions are also found in Renaissance artworks that show other individuals of high social status, but their presence in the hands of the Madonna gives the strongest indication that they were not considered pathological, due to religious belief in the Virgin's physical perfection. Examination of Madonna figures in late fifteenth century Renaissance art can contribute to historical nosology by identifying abnormal conditions that were not regarded as pathological at the time. The examples of such conditions identified in the present study are camptodactyly and boutonniere deformity.

The continuum of art and rheumatology: a discernment of mutual inclusivity

Art has been an integral part of the field of medicine, and has served, since the beginning of the time, in its development. This literature review explores the deep relationship between art and medicine through history, and how they are inextricably linked. Even during this current era and evolution, art has found its way in the different aspects of medicine from academic literature, digital health, and medical curriculum. Moreover, the increasing prevalence of mental health disorders, especially in those with chronic diseases, has resulted in art being used as a tool to alleviate symptoms and offer emotional relief. With the emergence of a new era of medicine, art is expected to play a major role in its foundation.

Who was Pontormo's Halberdier? The evidence from pathology

The identity of the young man in Jacopo Pontormo's Portrait of a Halberdier has long been disputed by art historians. Two probable candidates have been identified: Francesco Guardi, a Florentine nobleman, and Cosimo I de' Medici, Duke of Florence from 1537 and Grand Duke of Tuscany from 1569. The present study is intended to help resolve this controversy by providing evidence, based on pathological criteria, for the identification of Pontormo's Halberdier. Pathological anomalies of the finger joints in the left hand of the Halberdier are compared with those in three acknowledged portraits of Cosimo I de' Medici. These three portraits show the hands of Cosimo in approximately the same position as the Halberdier's hand, thus allowing a meaningful comparison. Detailed observation indicates that there is a close correspondence between the Halberdier's hand deformity and that of Cosimo I in the comparison portraits. This deformity is also consistent with what is known about the medical history of Cosimo I and with the skeletal remains of his left hand. The pathological evidence supports the conclusion that Pontormo's Halberdier is Cosimo I as a young man and that the painting was done around 1537 when Cosimo first became Duke.

Historical perspective on the etiology of rheumatoid arthritis

Contributions of historical analyses to the development of a cogent etiologic theory of rheumatoid arthritis (RA) have been limited to date. In this article, the authors analyze this literature with respect to the types and conclusions of the research that has been conducted, present the major points of evidence and conclusions that have been drawn, and trace the evolution of 3 historical theories of RA. The authors combine a comprehensive overview of paintings and paleopathological investigations with consideration of contemporary immunologic and genetic studies.