Epistaxis: From Veronese’s Banquet to the Modern Trauma Room

In 1573, Paolo Veronese unveiled his monumental painting The Feast in the House of Levi. Among the crowded banquet scene, a small but remarkable figure in the lower right foreground is depicted suffering from epistaxis. This incidental detail, rendered with striking realism, highlights the timelessness of a condition still familiar to modern trauma and ENT surgeons. In the sixteenth century, epistaxis was interpreted through humoral theory and treated with a mixture of practical and superstitious remedies, including vinegar-soaked compresses, charms, and heated cautery. The vascular anatomy of the nasal septum, including Kiesselbach's plexus, would not be described until centuries later. Today, however, the management of epistaxis follows well-established protocols: upright positioning with the head forward, direct pressure, topical vasoconstrictors, cauterization, nasal packing, and, in refractory cases, endoscopic or interventional radiologic procedures. The juxtaposition of Veronese's bleeding figure with contemporary clinical practice underscores both the continuity of human vulnerability and the evolution of anatomic knowledge and surgical precision. This historical and artistic perspective reminds physicians that, despite advances in medicine, the same ordinary disorders that challenged past generations continue to resonate in modern trauma rooms.