For one heart surgeon, seeing the Renaissance artist’s anatomical drawings gave him a natural understanding of the body that was often overlooked in modern medical science

If you’d asked my teenage self, growing up in a small village in Shropshire, what I wanted to do with my life, I would have talked about art and music long before I spoke of scalpel blades and operating theatres. As an 18-year-old, I intended to go to art school, until my mother sat me down and told me rather bluntly that being an artist wouldn’t earn me much money. As she spoke, a surgical documentary flickered across the screen of the black-and-white television in our living room. I told her, half joking, that that was what I’d do instead. Which is how I ended up repeating my A-levels and fighting my way into medical school, where I qualified in 1975.

By 1986, I was a consultant cardiothoracic surgeon at Papworth hospital in Cambridge, repairing failing hearts in a nascent field of medicine. Since then I’ve repaired more than 3,000 mitral valves – more than any surgeon in the UK – but the work that truly reshaped me came not from a textbook but from an encounter with centuries-old drawings.