Realistic images became available for the first time. The first major figure was Berengario da Carpi (1460-1530). He made contributions to knowledge. He stated the dura was attached all over the interior of the cranium not just at the sutures. He also noted that deterioration following traumatic hematomas was speedier the deeper within the brain the bleed had occurred and he noticed that post-traumatic neurological deficits were contralateral. Moreover, he introduced new instruments of a practical design. Specifically, he launched trepanation using a brace and bit handle. This instrument required two hands and rotated the trepan in the same direction all the time. In addition, he illustrated a crown trepan in which the bits could be interchanged. He also developed an improved elevator. He also provided the first drawing of a lenticular. The next illustrations came from Vidus Vidius (1509-1569). The illustrations in his text were elegant and realistic but some of them were impractical or unusable. Ambroise Paré (1510-1590) was a major surgeon. He designed an improved brace and bit trepan with a collar to control penetration. He also introduced instruments for expanding a cranial opening by biting up the bone and for depressing the dura to enable material to escape more easily.

The chapter begins with also an outline of the characteristics of four surgeons who changed the direction of thinking and hence of practice. This is followed by a review of the changing ideas which governed surgical practice. Chapter \"Two surgical instruments\" by Jeremy C. Ganz has examined the uses of drills and lenticulars. In this chapter there is an appraisal of the other instruments used during cranial surgery and how their use related to changing ideas. Finally, there is a concluding section which ties all these elements together.

Jacopo Berengario da Carpi was Renaissance-era physician, surgeon, and anatomy lecturer who transformed medieval anatomy and surgery-which were, at the time, dominated mostly by religious dogma-into a modern science based on direct observation, experience, and cadaveric dissection. He was an accomplished and innovative neuroanatomist and educator, a prolific researcher and publisher, and a successful practicing surgeon who treated the head injuries of many renowned patients of that period. He published a landmark commentary on skull fractures that was the first printed book in history devoted to head injuries, which became a model of new medical understanding. Nonetheless, Berengario\'s achievements in anatomy, medicine, neuroanatomy, and what would later become neurotraumatology and neurosurgery, would have been more widely known had his work and research not been surpassed by Andreas Vesalius and Ambroise Paré, both of whom advanced anatomic and medical knowledge even further. In this historical vignette, we discuss the political conditions of sixteenth Century Italy and pay a homage to Berengario da Carpi, emphasizing his work in establishing neuroanatomy as a field of medicine that became a precursor to modern neuroscience. We also describe the improvements he made in neurotraumatology technique and instrumentation, and his explanations of skull fractures and other brain injuries outlined in ground-breaking clinical books he published. Finally, we try to elucidate possible reasons why his scientific and professional achievements-despite of their enormous impact-were overshadowed by the achievements of his more famous immediate successors.

In Europe, during the 16th century, there were a number of prominent general surgeons adventurous enough to consider operating on the brain for head injuries. From the time of Hippocrates, operating on the skull and brain was considered both treacherous and too dangerous to be undertaken except on rare occasions. Operating on a member of a royal court was considered even more exceptional because if the outcome was poor, the surgeon could lose a hand or limb, or, even worse, be beheaded. The authors present two interesting cases of royal family members who underwent surgery for head injuries that were quite severe. The surgeons involved, Ambroise Paré, Andreas Vesalius, and Berengario da Carpi, were among the most prominent surgeons in Europe. Despite very challenging political situations, all were willing to undertake a complex surgical intervention on the member of a prominent royal family. The individuals involved, both royal and medical, plus the neurosurgical injuries are discussed.

Various changes in the sociopolitical milieu of Italy led to the increasing tolerance of the study of cadavers in the late Middle Ages. The efforts of Mondino de Liuzzi (1276-1326) and Guido da Vigevano (1280-1349) led to an explosion of cadaver-centric studies in centers such as Bologna, Florence, and Padua during the Renaissance period. Legendary scientists from this era, including Leonardo Da Vinci, Andreas Vesalius, Bartolomeo Eustachio, and Costanzo Varolio, furthered the study of neuroanatomy. The various texts produced during this period not only helped increase the understanding of neuroanatomy and neurophysiology but also led to the formalization of medical education. With increased understanding came new techniques to address various neurosurgical problems from skull fractures to severed peripheral nerves. The present study aims to review the major developments in Italy during the vibrant Renaissance period that led to major progress in the field of neurosurgery.

The Renaissance marks the introduction of veridical representation of anatomical structure into printed books. For centuries, anatomy that had relied solely on textual description and the authority of the written word was transformed. An existing graphic tradition only visualized function within a humoral theory, schematically \"naming the parts\" or mapping the \"uses of the parts\" for mnemonic purposes. In the sixteenth century, anatomists and artist began to apply their knowledge and skills to present the \"fabric\" of the dissected human body with increasing detail and accuracy, exemplified by the naturalistic illustrations of the brain in Vesalius\' De humani corporis fabrica (Basel, 1543). How did this transformation occur? Among the causal factors, the importance the humanist textual scholarship will be shown not only in the recovery of the anatomical writings of Galen (129-ca. 216), in particular, but also in providing a model in establishing anatomical \"truth\" by a method of \"comparison.\" It will be argued that Vesalius\' comparative approach in dissection, using both human and animal preparations against Galen\'s textual description, paved the way for cumulative observations of greater detail, which in turn required the representational skills of artists. An analysis of Vesalius\' views between 1538 and 1543 shows a shift in the use of illustrations from serving as a visual record to compensate for limited access to cadavers in teaching, to becoming an indispensable tool to accurately convey detailed anatomical structure through the medium of printing. With the Fabrica, morphology became divorced from humoral function and enduring paradigms established that dominated until the nineteenth century.