More than 100 years before the circulatory system was first described by medical science, Michelangelo perfectly sculpted the jugular vein in his sculpture of David.

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David was originally commissioned as one of twelve statues for the roof of Florence Cathedral.

Once completed, its perfection made it too beautiful for that spot, so it was instead placed in the public square in front of the Palazzo della Signoria, Florence’s civic seat.

At 17 feet tall and weighing 6 tons, David is not only the first colossal marble statue of the High Renaissance but also the largest since classical antiquity.

In 1873 it was moved to the Galleria dell'Accademia, where it’s now dusted every 2-3 months by restorers.

Many consider the statue of David to be the most beautiful work of art ever created by man.

Remarkably, recent discoveries have also revealed that the Renaissance master had an understanding of the circulatory system a century before it was formally recognized by doctors.

The visible jugular vein in the statue accurately reflects the biblical hero’s state of excitement before facing the Philistine giant Goliath.

The great polymath understood this and depicted a distended jugular, 124 years before it was first documented in medical science.

Cardiologist Daniel Gelfman of Marian University College of Osteopathic Medicine in Indianapolis has recently made this significant connection.

"Michelangelo, like some of his artistic contemporaries, had anatomical training," Dr. Gelfman explained in his research paper.

"I realized that he must have noticed temporary jugular venous distension in healthy individuals who are excited. At the time David was created, anatomist William Harvey had yet to describe the true mechanics of the circulatory system. This did not occur until 1628."

David is indeed the result of Michelangelo's meticulous anatomical studies. Modern analyses have deemed it flawless, except for one small missing muscle in the back.

The artist himself noted this issue, mentioning that he was constrained by an imperfection in the marble.

Giorgio Vasari, the father of art history, said that David surpassed "all ancient and modern statues, whether Greek or Latin, that have ever existed", while Goethe stated that "its greatness is beyond all descriptions."

Michelangelo himself wrote: "In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it."

“Beauty perishes in life, but is immortal in art”

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