More than a neuroanatomical representation in The Creation of Adam by Michelangelo Buonarroti, a representation of the Golden Ratio

• Published in: Clinical anatomy (New York, N.Y.) Vol. 28; no. 6; pp. 702 - 705
• Main Authors: de Campos, Deivis, Malysz, Tais, Bonatto-Costa, João Antonio, Pereira Jotz, Geraldo, Pinto de Oliveira Junior, Lino, Oxley da Rocha, Andrea
• Format: Journal Article
• Language: English
• Published: United States Blackwell Publishing Ltd 01-09-2015; Wiley Subscription Services, Inc
• Subjects: Anatomy; Art works; Artists; Brain; Brain architecture; Buonarroti; Cadavers; Famous Persons; Golden Ratio; history of anatomy; History, 15th Century; History, 16th Century; Humans; illustrations; Italy; Michelangelo; Neuroanatomy - history; Neuroimaging; Paintings - history; Religion; The Creation of Adam; Religion; illustrations; Golden Ratio; Michelangelo; history of anatomy; The Creation of Adam
• ISSN: 0897-3806; 1098-2353
• DOI: 10.1002/ca.22580

Michelangelo Buonarroti (1475–1564) was a master anatomist as well as an artistic genius. He dissected numerous cadavers and developed a profound understanding of human anatomy. Among his best‐known artworks are the frescoes painted on the ceiling of the Sistine Chapel (1508–1512), in Rome. Currently, there is some debate over whether the frescoes merely represent the teachings of the Catholic Church at the time or if there are other meanings hidden in the images. In addition, there is speculation regarding the image of the brain embedded in the fresco known as “The Creation of Adam,” which contains anatomic features of the midsagittal and lateral surfaces of the brain. Within this context, we report our use of Image Pro Plus Software 6.0 to demonstrate mathematical evidence that Michelangelo painted “The Creation of Adam” using the Divine Proportion/Golden Ratio (GR) (1.6). The GR is classically associated with greater structural efficiency and is found in biological structures and works of art by renowned artists. Thus, according to the evidence shown in this article, we can suppose that the beauty and harmony recognized in all Michelangelo's works may not be based solely on his knowledge of human anatomical proportions, but that the artist also probably knew anatomical structures that conform to the GR display greater structural efficiency. It is hoped that this report will at least stimulate further scientific and scholarly contributions to this fascinating topic, as the study of these works of art is essential for the knowledge of the history of Anatomy. Clin. Anat. 28:702–705, 2015. © 2015 Wiley Periodicals, Inc.