The Vitruvian Man and Proportions|The Open Book | Education Videos

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The proportions of man
The paintings of Leonardo da Vinci have been appreciated and raved about for a very long time. One of his lesser known but highly acclaimed work is the Vitruvian man based on the work of the architect Vitruvius.
Vitruvius had shown a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square. The drawings are often called the Canon of proportions.
The drawing is in pen and ink and kept at an art gallery in Venice and opened to the public only occasionally.
The drawing is based on the correlations of the ideal human body in relation to geometry.
Vitruvius described the human body as being the ideal body to determine correct proportions in architecture.
Vitruvius determined that the human body should be eight heads high.
According to Neo Platonism in the Great Chain of being man is at the centre of the chain with God being at the top and all other animals in the lower rung. It is up to man to climb up or down. In other words he chooses his path of being closer to God or to the animal.
This fact is used to answer of how to square a circle and how to use the area of a circle and create a square.
Metaphorically, using Roman architect Vitruvius, Leonardo Da Vinci claimed that the naval is centre of the human body such that when a centre is drawn around it encompasses both stretched hands and legs.
Also, a square can be drawn taking crotch as the centre as the height of a standstill body = total arm span length
Geometry according to him is a beautiful language and if the human being followed it perfectly he can carve a beautiful life for himself. According To Vinci:
"Vetruvio, architect, puts in his work on architecture that the measurements of man are in nature distributed in this manner, that is:
• A palm is 4 fingers
• A foot is 4 palms
• A cubit is 6 palms
• 4 cubits make a man
• A pace is 4 cubits
• A man is 24 palms
"if you open your legs enough that your head is lowered by 1/14 of your height and raise your hands enough that your extended fingers touch the line of the top of your head, know that the centre of the extended limbs will be the navel, and the space between the legs will be an equilateral triangle".
These proportions are also given by him:
• The length of the outspread arms = the height of a man
• From the hairline to the bottom of the chin is 1/10 of the height of a man
• From below the chin to the top of the head is 1/8 of the height of a man
• From above the chest to the top of the head is 1/6 of the height of a man
• From above the chest to the hairline is 1/7 of the height of a man.
• The maximum width of the shoulders is 1/4 of the height of a man.
• From the breasts to the top of the head is 1/4 of the height of a man.
• The distance from the elbow to the tip of the hand is 1/4 of the height of a man.
• The distance from the elbow to the armpit is 1/8 of the height of a man.
• The length of the hand is 1/10 of the height of a man.
•The root of the penis is at half the height of a man.
• The foot is 1/7 of the height of a man.
• From below the foot to below the knee is 1/4 of height of a man.
• From below the knee to the root of the penis is 1/4 of the height of a man.
• The distances from below the chin to the nose and the eyebrows and the hairline are equal to the ears and to 1/3 of the face.
If nature has composed the human body so that in its proportions the separate individual elements answer to the total form, then the Ancients seem to have had reason to decide that bringing their creations to full completion likewise required a correspondence between the measure of individual elements and the appearance of the work as a whole.
The quality of a person's life is in direct proportion to their commitment to excellence, regardless of their chosen field of endeavor. We will receive not what we idly wish for but what we justly earn. Our rewards will always be inexact proportion to our service.
The above account is proof of the extent to which our forefathers had an understanding of geometry.

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