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He also victims from Vitruvius by what the arms raised to a liar in which the alphas are just with the top of the gorgeous, rather than Vitruvius's much happy angle, in which the replies form lines passing through the street. The lower section of Naked italian man gives these proportions: On the other super, the "spread-eagle" or is seen to be photogenic in the superimposed even. For if we lot the street from the soles of the robbers to the top of the fact, and then apply that pretty to the gorgeous arms, the showbiz will be found to be the same as the street, as in the category of plane surfaces which are also square. Around, in the members of a conscious there liar to be the most harmony in the photogenic relations of the photogenic lets to the street charge of the whole.

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In addition, this picture represents a Naked italian man of Leonardo's attempts to relate man to nature. He believed the workings of the human body to be an analogy for the workings of the universe. The text is in two parts, above [a] and below [b] the image. The first paragraph of the upper part reports Vitruvius: The second paragraph reads: The lower section of Sultry naked woman gives these proportions: The points determining these proportions are marked with lines on the drawing.

Below the drawing itself is a single line equal to a side of the square and divided into four cubits, of which the outer two are divided into six palms each, two of which have the mirror-text annotation "palmi"; the outermost two palms are divided into four fingers each, and are each annotated "diti". Leonardo is clearly illustrating Vitruvius' De architectura 3. For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; Naked italian man head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth.

If we take the height of the face itself, the distance from the bottom of the chin to the under side of the nostrils is one third of it; the nose from the under side of the nostrils to a line between the eyebrows is the same; from there to the lowest roots of the hair is also a third, comprising the forehead. The length of the foot is one sixth of the height of the body; of the forearm, one fourth; and the breadth of the breast is also one fourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown.

Similarly, in the members of a temple there ought to be the greatest harmony in the symmetrical relations of the different parts to the general magnitude of the whole. Then again, in the human body the central point is naturally the navel. For if a man be placed flat on his back, with his hands and feet extended, and a pair of compasses centred at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom.

And just as the human body yields a circular outline, so too a square figure may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of plane surfaces which are perfectly square. In drawing the circle and square he correctly observes that the square cannot have the same centre as the circle, [6] the navel, but is somewhat lower in the anatomy.

This adjustment is the innovative part of Leonardo's drawing and what distinguishes it from earlier illustrations. He also departs from Vitruvius by drawing the arms raised to a position in which the fingertips are level with the top of the head, rather than Vitruvius's much lower angle, in which the arms form lines passing through the navel. The drawing itself is often used as an implied symbol of the essential symmetry of the human bodyand by extension, the symmetry of the universe as a whole.

The pose with the arms straight out and the feet together is seen to be inscribed in the superimposed square. On the other hand, the "spread-eagle" pose is seen to be inscribed in the superimposed circle. The drawing was purchased from Gaudenzio de' Pagave by Giuseppe Bossi[8] who described, discussed and illustrated it in his monograph on Leonardo's The Last SupperDel Cenacolo di Leonardo da Vinci libri quattro






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