leonardo's vitruvian manhttp://leonardodavinci.stanford.edu/submissions/clabaugh/history/leonardo.html"We know very little about Leonardos apprenticeship in Verroccios workshop, but the short account provided by Vasari confirms that it included architectural and technological design, according to a concept that was being revived on the model of Vitruvius, as reproposed by Alberti" (Pedretti 14). Having had access to Albertis and Vitruvius treatises, it is no surprise that Leonardo produced his own version of the Vitruvian man in his notebooks.

Top of FormBottom of FormThis rendering of the Vitruvian Man, completed in 1490, is fundamentally different than others in two ways: The circle and square image overlaid on top of each other to form one image. A key adjustment was made that others had not done and thus were forced to make disproportionate appendages:Leonardos famous drawings of the Vitruvian proportions of a mans body first standing inscribed in a square and then with feet and arms outspread inscribed in a circle provides an excellent early example of the way in which his studies of proportion fuse artistic and scientific objectives. It is Leonardo, not Vitruvius, who points out that If you open the legs so as to reduce the stature by one-fourteenth and open and raise your arms so that your middle fingers touch the line through the top of the head, know that the centre of the extremities of the outspread limbs will be the umbilicus, and the space between the legs will make and equilateral triangle (Accademia, Venice). Here he provides one of his simplest illustrations of a shifting centre of magnitude without a corresponding change of centre of normal gravity. This remains passing through the central line from the pit of the throat through the umbilicus and pubis between the legs. Leonardo repeatedly distinguishes these two different centres of a body, i.e., the centers of magnitude and gravity (Keele 252).This image provides the perfect example of Leonardo's keen interest in proportion. In addition, this picture represents a cornerstone of Leonardo's attempts to relate man to nature. Encyclopaedia Britannica online states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as acosmografia del minor mondo(cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe."

Vitruvian ManThe Proportions of the Human FigureVitruvian Man is perhaps Leonardo da Vinci's most famous illustration. In this work, Leonardo used both image and text to express the ideas and theories of Vitruvius, a first century Roman architect and author of 'De Architectura libri X'. The Vitruvian ideas, presented by Leonardo, formed the basis of Renaissance proportion theories in art and architecture.In his treatise, Vitruvius discussed proper symmetry and proportion as related to the building of temples. The architect believed that the proportions and measurements of the human body, which was divinely created, were perfect and correct. He therefore proposed that a properly constructed temple should reflect and relate to the parts of the human body. He noted that a human body can be symmetrically inscribed within both a circle and a square; this idea influenced his architectural practice.Leonardo's illustration of the theory of Vitruvius is a pen ink drawing of a male figure whose outstretched limbs touch the circumference of a circle and the edges of a square. His navel falls in the exact center of the circle. There is a changing perspective in the work. It is static in structure but dynamic in its presentation of a moving, living man. Hand-written text surrounds the drawing of the figure.Various artists and architects had illustrated Vitruvius' theory prior to Leonardo, but da Vinci's drawing differs from the previous works in that the male figure adopts two different positions within the same image. He is simultaneously within the circle and the square; movement and liveliness are suggested by the figure's active arms and legs. Leonardo's figure appears as a living being with unruly hair, distinct facial features and a strong build. While the subject is lively, thin lines on his form show the significant points of the proportion scheme. These lines indicate da Vinci's concern with the architectural meaning of the work. Leonardo is representing the body as a building and illustrating Renaissance theory which linked the proportions of the human body with architectural planning.The text which surrounds the figure in Vitruvian Man paraphrases Vitruvius' theory. It is apparent that da Vinci wrote the text after creating the drawing, as the words are tailored to the contours of the circle and the square. The presence of the text legitimates the image; the authority of Vitruvius explains why Leonardo created the drawing. The image is not, however, simply an illustration of the text. Words and image interact in the work and the significance of the piece lies in the connection between the two.Vitruvian Man is Leonardo da Vinci's own reflection on human proportion and architecture, made clear through words and image. The purpose of the illustration is to bring together ideas about art, architecture, human anatomy and symmetry in one distinct and commanding image. By combing text and illustration, da Vinci evokes a meaning which could not be created through words or image alone.Vitruvian Man's importance lies in its clear reflection of the ideas of its time. It demonstrates the enthusiasm for the theories of Vitruvius among da Vinci and his contemporaries.http://www.davincilife.com/vitruvianman.htmlVitruvian ManThe Vitruvian Man

ArtistLeonardo da Vinci

Yearc. 1487

MediumPen and ink with wash over metalpoint on paper

LocationGallerie dellAccademia in Venice, Italy

Dimensions13.5 10.0 in

34.4 25.5 cm

Famous Paintings by da Vinci

The Last Supper

Mona Lisa

Vitruvian Man

The Baptism of Christ

Annunciation

Lady with an Ermine

Ginevra de Benci

Adoration of the Magi

St. Jerome in the Wilderness

View Complete Works

Leonardo da Vinci drewThe Vitruvian Manin approximately 1487 in one of his notebooks. This world-famous drawing is also known as the Canon of Properties or Proportions of Man.The Vitruvian Manblends art and science and showcases da Vincis interest in proportion. It also provides an example of da Vincis attempt to make connections between man and nature. The drawing currently resides in the Gallerie dellAccademia in Venice, Italy and is rarely shown.History

Leonardo da Vinci had a great interest in science as well as art. While the concepts of human proportion had been studied for centuries, his drawing was unique due to some modifications he made based upon his own observations. Multiple examples of anatomical sketches exist and may have served as inspiration or source material for da Vinci. However, his primary inspiration came from the work of Vitruvius, a famous Roman architect. His background in geometry and anatomy gave da Vinci a unique ability to apply geometric principles to his artwork andThe Vitruvian Manprovides an excellent example of his ability to blend science and art.The Drawing

The Vitruvian Manis a pen and ink drawing done on paper with a wash over metal-point accompanied by handwritten notes. In the drawing, two male figures are superimposed upon each other. The figures are shown with arms and legs extended in differing degrees of extension. One figure shows the legs slightly apart and the arms extended straight out from the shoulders. The other figure shows the legs moderately spread and the arms extended partway above the shoulders. In both figures, the head and torso are completely superimposed. The male figures are inscribed within a circle and a square, showing the geometric proportion of the human body. Markings upon the bodies serve to identify points used in establishing proportional measurements. In addition, the drawing includes shading and details indicating musculature and anatomical elements such as joints and genitalia.The Notes

The drawing includes handwritten notes above and below the drawing. The notes are based upon the work of Vitruvius who described the human body as an example or source of proportion in Classical architecture. The text above the drawing lists specific measurements based upon the human body. In this paragraph, da Vinci inscribes some of Vitruvius observations and provides geometric ratios based upon the extension of the arms and legs.The notes beneath the drawing continue listing specific anatomical proportions. While the top portion provides specific measurements, the bottom listing focuses on proportions of the human body. For example, da Vinci noted the span of outstretched arms is equal to height. Each point used in determining the listed proportions are marked in the drawing and a line indicating length or dimension is included beneath the anatomical figures.Interpretation

While da Vinci clearly references Vitruvius and uses his work as a basis forThe Vitruvian Man, this sketch goes beyond the mathematical proportions of the human body. While Vitruvius considered the body a source of architectural proportion, da Vinci extended the observations and work by correlating the symmetry of human anatomy to the symmetry of the universe. In da Vincis drawing, changes to the original source material include shifts in the position of the enclosing square and variations in the height of the extended arms. These changes show a greater understanding of anatomy gained through da Vincis study of the human body. Although the drawing consists of two superimposed images, the combinations of limb positions allow 16 different poses to be observed.In addition to the anatomical and artistic value ofThe Vitruvian Mandrawing, mathematicians have studied the drawing extensively and found numerous proportional rules and formulas in da Vincis work. The drawing aligns to an octagon, which serves as a geometric framework for the proportions of the human body. Close analysis of the drawing shows each individual proportion adheres to the canon recommended by Vitruvius and still holds up to modern medical and mathematical studies.The Vitruvian Manis one of the most well-known and easily recognized images of Renaissance art and serves to showcase the blend of art and science which emerged during this period. The drawing, found in da Vincis notebooks, was intended to be part of his personal notes and observations of the human body. Yet, it still continues to be a vibrant and resonant image appearing in numerous modern contexts to represent the same blend of science and art.http://totallyhistory.com/vitruvian-man/

The pen and ink drawing by Leonardo da Vinci, depicting a man fitting his body to a circle and a square by adjusting the position of his arms and legs, is probably the most famous drawing in the world judging by the fact that I see it in advertisements and worked into logos for holistic health centers and it is even the wallpaper design for my Windows main page. However, few people know its name or the secrets that it contains. It is called Vitruvian Man.Vitruvius was an ancient Roman architect who wrote a series of ten books on architecture one of the few collections of books of its type that survived into the Renaissance. In the third volume, which is on the proportions of temples, he states that these buildings should be based on the proportions of man, because the human body is the model of perfection. He justifies this by stating that the human body with arms and legs extended fits into the perfect geometric forms, the circle, and the square.This fragment of the philosophy of Pythagoras seized the imagination of the Renaissance. Many artists tried to illustrate this divine relationship, but with varying success. An illustration of Vitruvian man by Cesariano in his Cosmo Vitruvius of 1521 reeks of failure. Cesariano drew a perfect circle and square tangent to each other at the four points of the square; then he forced a figure of a man into the design so that his hands and feet touch the points. The result was one of the most disproportioned figures of the Renaissance, with arms too long, legs too short, and hands and feet too big. A system of relationships alone did not make beauty happen. It took the genius of Leonardo da Vinci to solve the problem. Leonardo started by drawing a perfectly proportioned man and then found the circle and square in the figure. The circle and square are only tangent at one place, the base. The thing that he added was beauty. I keep a copy of his illustration on the wall over my drawing table and refer to it as a guide for my own figures.I believe that beauty in itself is a greater mystical revelation than any system of symbols or of correspondences. The one criticism I have of Tarot decks in general, modern or other, is that at times they lack beauty. Sometimes the creators make the same mistake as Cesariano and try to make reality fit their ideas instead of discovering them in reality. This is not to say that there is no underlying wisdom in their assertions, but only that at times their solutions are less than satisfactory.I have lived with Leonardos Vitruvian Man for many years now and it has taught me many things. It has been like having Leonardo as a teacher. I would like to discuss this further and show how this relates to the Tarot.Some of you will be asking yourself, why was it so important to the Renaissance artists and philosophers that a human body could fit into a circle and a square? Some of you probably know the answer, but I will go into it for the benefit of those who do not.The ideas that Vitruvius was expressing can be traced back to Pythagoras. Pythagoras lived in a Greek colony in Southern Italy in the 6th century, BCE, the same time that Buddha lived. Like Buddha, Pythagoras taught his male and female disciples that life is an endless wheel of reincarnations until we purify ourselves and return to our divine source.Purification included a vegetarian diet, moral behavior, and contemplation of the numerical abstractions that underlie reality. Pythagoras was the first person to call himself a philosopher, which means to love Sophia (wisdom). We have no writing that can be attributed to Pythagoras; yet, he is one of a handful of people that were instrumental in creating Western culture. It is theorized that if he did write anything it would have been poetry and he would have signed it Orpheus.Orpheus, the mythical, semi-divine musician, was the founder of the first mystery cult, a religion based on a secret redemptive ritual. This religion is believed to be a major source for the Pythagorean teachings. Many of its followers were poets and musicians who believed that their inspiration came directly from Orpheus; hence, they would sign his name to their work.In the Orphic creation myth, the beautiful god, Dionysus, is born of the incestuous union of Zeus and Persephone. Zeus wife, Hera, is jealous and wishes to destroy the child. To accomplish this she has her allies, the Titans, dismember and devour him. Of course, Zeus is heart broken and in a fit of anger, he burns the Titans to ash with a volley of lightning bolts. Only Dionysuss heart remained, and from this, Zeus creates a new Dionysus. However, from the ash of the Titans mixed with the devoured Dionysus, the human race was born. Therefore, the human race is part divine and beautiful like Dionysus and part vicious and material like the Titans. The purpose of the Orphic mystery was to redeem the Dionystic soul and make it the dominant influence in the lives of the devotees.The Orphics, like Pythagoras, saw a connection between music and numerical order. This type of reasoning lead to sacred geometry. Pythagoras taught that numbers had qualities as well as quantity and that geometric figures were powerful magical symbols. The circle, being connected to the dome of the sky and the cosmos with its spherical stars and planets continually circling the earth was a symbol of Dionysus, the soul.The square, on the other hand, is the natural way that humans relate to the physical world. This is why there are four directions, four seasons, and four elements. It is why my house has four sides and I am sitting on a four-legged chair while I write this on my square keyboard and read it on my square screen. The square was a symbol of the Titanic human aspect.The first step to the liberation of the soul is to recognize that we are made of both aspects. In Pythagorean thinking, if a human can be shown to fit into both symbols this would be a geometric proof of our dual nature. Many of these teachings were incorporated into alchemy, and other ancient disciplines. In this way, the teachings although at times fragmented were passed on to the Renaissance. In Venice around the year 1500, Leonardo once again demonstrated geometrically that the human soul is divine.http://www.thealchemicalegg.com/VitruviusN.html

Kamis, 02 Februari 2012 | 18:30Ilmuwan: Leonardo da Vinci Contek Lukisan Sahabatnya

Vitruvian Man, lukisan karya Leonardo da VinciDalam karya fenomenal "Vitruvian Man"

Lukisan Leonardo da Vinci "Vitruvian Man" yang mengilustrasikan hubungan ilahi antara manusia dengan alam merupakan salah satu gambar yang dinilai paling indah dan simbol kekuatan di dunia, tetapi sejumlah ilmuwan menganggapnya itu hasil contekan.

Sebuah lukisan yang mirip dengan karya Leonardo, berasal dari tahun 1490, telah ditemukan dalam tumpukan manuskrip usang di Ferara, Italia. Hanya saja karakter dalam lukisan itu, lebih mirip Yesus, ketimbang pada lukisan Leonardo.

Kedua lukisan itu sama-sama terinspirasi dari tulisan Vitruvius, seorang arsitek dari masa Romawi kuno, yang menggambarkan tubuh manusia begitu cocok di dalam sebuah lingkaran (lambang keilahian) dan juga di dalam sebuah segi empat (simbol duniawi).

Lukisan itu merupakan interpretasi geometrik dari kepercayaan kuno bahwa manusia adalah mikrokosmik, miniatur dari keseluruhan alam semesta. Leonardo dan sejumlah akademisi pada eranya percaya pada gagasan angkuh ini pada masa Renaissance Italia.

Tetapi setelah penelitian selama beberapa dekade, Claudio Sgarbi, seorang sejarahwan arsitektur yang menemukan versi lain dari lukisan Vitruvian Man pada tahun 1986 itu, yakin bahwa gambar kedua itu adalah karya Giacomo Andrea de Ferrara, seorang arsitek Renaissance, seorang pakar tentang Vitruvius, dan kawan akrab Leonardo.

Dasar klaim Sgarbi itu, yang akan menerbitkan hasil penelitiannya akhir tahun ini, didasarkan pada kenyataan bahwa Leonardo dalam tulisannya menyebut "Giacomo Andrea's Vitruvius", yang tampaknya mengacu pada lukisan yang ditemukan di Ferara itu.

Kedua, Leonardo pernah bersantap malam dengan Giacomo Andrea pada Juli 1490, tahun yang diperkirakan menjadi saat kedua orang itu menggambar Vitruvian Man masing-masing. Para ilmuwan percaya, Leonardo sedang menyelidiki pengetahuan Giacomo Andrea tentang Vitruvius ketika mereka bertemu.

Akan tetapi meski kedua lukisan itu mewakili gagasan Vitruvius dengan sama, hasil karya Leonardo dikerjakan dengan lebih sempurna, sementara dalam karya Giacomo banyak terdapat kesalahan dan perbaikan, sesuatu yang tidak mungkin terjadi jika itu merupakan contekan dari karya Leonardo.

"Menurut saya argumentasi Sgarbi sangat menarik dan sangat menggoda," kata Indra McEwen, seorang sejarahwan arsitektur yang banyak meneliti tentang karya-karya Vitruvius dari Concordia University, Kanada.

"Saya memilih percaya bahwa Giacomo Andrea dan Leonardo bekerja sama, ketimbang percaya bahwa Leonardo mendasarkan karyanya pada karya Andrea," imbuh McEwen.

Meski masih ada keraguan, satu hal yang pasti bahwa lukisan Vitruvian yang lebih sempurnalah yang paling terkenal, sementara versi yang kedua - yang lebih sederhana tetapi berkemungkinan menjadi yang asli - hanya tercecer di sebuah perpustakaan selama lima abad.

Da Vinci - Vitruvian Man

Lukisan Printing Canvas :

Ukuran : 60 x 40 cmHarga : Rp. 200,000

Keterangan :TheVitruvian Manadalahgambaryang dibuat olehLeonardo da Vincisekitar tahun 1490. Hal ini disertai dengan catatan berdasarkan karya arsitekVitruvius. Gambar, yang di pena dan tinta di atas kertas, menggambarkan sosok laki-laki di dua posisi ditumpangkan dengan tangan dan kakinya terpisah dan bersamaan tertulis dalam lingkaran dan persegi. Gambar dan teks kadang-kadang disebutCanon of Proporsiatau, lebih jarang,Proporsi Manusia.Hal ini disimpan dalamdell'Accademia GalleriediVenice, Italia, dan, seperti kebanyakan karya di atas kertas, hanya ditampilkan sesekali.Gambar ini didasarkan pada korelasi yang idealproporsi manusiadengan geometri yang dijelaskan oleh arsitek Romawi kunoVitruviusdalam Buku III-nya risalahDe Architectura. Vitruvius menggambarkan sosok manusia sebagai sumber utama dari proporsi antaraperintah klasikarsitektur. Vitruvius menentukan bahwa tubuh ideal harus delapan kepala tinggi.

Gambar ini mencontohkan campuransenidanilmuselamaRenaissancedan memberikan contoh sempurna dari minat Leonardo dalamproporsi. Selain itu, gambar ini merupakan landasan upaya Leonardo untuk berhubungan manusia dengan alam.Encyclopaediasecara onlineBritannicamenyatakan, "dibayangkan Leonardo grafik gambar besar dari tubuh manusia yang telah dihasilkan melalui gambar anatomi danVitruvian Mansebagaicosmografia del minor mondo(kosmografidarimikrokosmos). Ia yakin cara kerja tubuh manusia menjadi analogi untuk kerja alam semesta. "Menurut pratinjau Leonardo dalam teks yang menyertainya, ditulis dalamcermin menulis, itu dibuat sebagai studi tentang proporsi tubuh (laki-laki) manusia seperti yang dijelaskan diVitruvius. Teks ini dalam dua bagian, di atasdan di bawahgambar.Paragraf pertama dari bagian atas laporan Vitruvius: "Vetruvio, arsitek, menempatkan dalam karyanya pada arsitektur bahwa pengukuran manusia berada di alam didistribusikan dengan cara ini, yaitu:sebuahsawitadalah empat jarisebuahkakiempat telapak tangansebuahhastaadalah enam telapak tanganempat hasta membuat priasuatukecepatanempat hastaseorang pria 24 telapak tangandan pengukuran ini di gedung-gedung nya "Paragraf kedua berbunyi:." jika Anda membuka kaki Anda cukup bahwa kepala Anda diturunkan oleh satu-empat belas tinggi dan mengangkat tangan Anda cukup bahwa jari-jari Anda menyentuh diperpanjang garis bagian atas Anda kepala, tahu bahwa pusat anggota badan diperpanjang akan pusar, dan ruang antara kaki akan menjadi sebuah segitiga sama sisi ".Bagian bawah teks memberikan proporsi ini:panjang lengan terhampar sama dengan tinggi manusiadari garis rambut ke bawah dagu sepersepuluh dari ketinggian seorang priadari bawah dagu ke atas kepala adalah seperdelapan dari ketinggian seorang priadari atas dada ke atas kepala adalah seperenam dari ketinggian seorang priadari atas dada untuk garis rambut adalah salah satu-ketujuh dari ketinggian seorang pria.lebar maksimum bahu adalah seperempat dari ketinggian seorang pria.dari payudara ke atas kepala adalah seperempat dari ketinggian seorang pria.jarak dari siku ke ujung tangan adalah seperempat dari ketinggian seorang pria.jarak dari siku ke ketiak adalah seperdelapan dari ketinggian seorang pria.panjang tangan adalah sepersepuluh dari ketinggian seorang pria.akar penis adalah pada setengah tinggi manusia.kaki adalah salah satu-ketujuh dari ketinggian seorang pria.dari bawah kaki ke bawah lutut merupakan seperempat dari ketinggian seorang pria.dari bawah lutut ke akar penis adalah seperempat dari ketinggian seorang pria.jarak dari bawah dagu ke hidung dan alis dan garis rambut yang sama dengan telinga dan sepertiga dari wajah.Poin menentukan proporsi ini ditandai dengan garis-garis pada gambar. Di bawah gambar itu sendiri adalah satu baris sama dengan sisi alun-alun dan dibagi menjadi empat hasta, yang dua luar dibagi menjadi enam telapak tangan masing-masing, dua di antaranya memiliki penjelasan cermin-teks "palmi", dua telapak tangan terluar yang dibagi menjadi empat jari masing-masing, dan masing-masing dijelaskan "Diti".Leonardo jelas menggambarkan Vitruvius 'De architectura3.1.2-3 yang berbunyi:Untuk tubuh manusia begitu dirancang oleh alam bahwa wajah, dari dagu ke atas dahi dan akar rambut terendah, adalah bagian sepersepuluh dari ketinggian keseluruhan; tangan terbuka dari pergelangan tangan ke ujung Jari tengah adalah sama, kepala dari dagu ke mahkota merupakan kedelapan, dan dengan leher dan bahu dari atas payudara ke akar rambut terendah adalah keenam, dari tengah payudara ke puncak mahkota adalah keempat. Jika kita mengambil ketinggian muka sendiri, jarak dari bagian bawah dagu ke sisi bawah lubang hidung merupakan sepertiga dari itu, hidung dari sisi bawah dari lubang hidung ke saluran antara alis adalah sama; dari sana ke akar rambut terendah juga sepertiga, terdiri dari dahi.Panjang kaki merupakan seperenam dari tinggi badan, lengan bawah, seperempat, dan luasnya payudara juga seperempat. Para anggota lain juga, memiliki proporsi sendiri simetris, dan itu mempekerjakan mereka bahwa pelukis dan pematung terkenal dari jaman dahulu mencapai ke terkenal besar dan tak ada habisnya. Demikian pula, dalam anggota sebuah candi harus ada harmoni terbesar dalam hubungan simetris dari bagian yang berbeda untuk besarnya umum dari keseluruhan. Kemudian lagi, dalam tubuh manusia titik sentral secara alami pusar. Sebab jika seorang pria ditempatkan telentang, dengan tangan dan kaki diperpanjang, dan sepasang kompas berpusat di pusarnya, jari tangan dan kaki dari dua tangan dan kaki akan menyentuh keliling lingkaran digambarkan darinya. Dan sama seperti tubuh manusia menghasilkan garis melingkar, begitu juga sosok persegi dapat ditemukan dari itu. Sebab jika kita mengukur jarak dari telapak kaki ke atas kepala, dan kemudian menerapkan ukuran yang ke lengan terentang, lebarnya akan ditemukan sama seperti ketinggian, seperti dalam kasus permukaan pesawat yang yang sempurna persegi.Sudut pandang ganda yang ditetapkan denganRomantisismetelah meyakinkan kita bahwa tidak ada hal seperti satu set universal proporsi bagi tubuh manusia.pernyataan Vitruvius 'dapat ditafsirkan sebagai pernyataan tentang proporsirata-rata.Vitruvius mengambil rasa sakit untuk memberikan definisi matematika yang tepat dari apa yang ia maksudkan dengan mengatakan bahwa pusar adalah pusat dari tubuh, namun definisi lain menyebabkan hasil yang berbeda, misalnya, denganpusat massadari tubuh manusia tergantung pada posisi tungkai, dan dalam posisi berdiri biasanya sekitar 10 cm lebih rendah dari pusar, di dekat bagian atas tulang pinggul.

Antropometrispenelitian telah menunjukkan bahwa sementara Vitruvius benar mengusulkan bahwa proporsi tubuh manusia yang konsisten antara individu, harus berhati-hati dalam menerima proporsi yang tepat diusulkan oleh dia - sebagai contoh sebuah penelitian yang membandingkan mahasiswa perguruan bule pria Amerika (ketinggian rata-rata 180,6 cm dan panjang kaki rata-rata 28,2 cm) dan siswa pertukaran Jepang (171,4 dan 25,8 cm masing-masing) memberikan rasio sebesar 6,40 dan 6,66 bukan 6,0 seperti yang diusulkan oleh Vitruvius.Gambar Leonardo menggabungkan hati-hati membaca naskah kuno dengan pengamatan sendiri tubuh manusia yang sebenarnya. Dalam menggambar lingkaran dan persegi ia benar mengamati bahwa alun-alun tidak dapat memiliki pusat yang sama seperti lingkaran,pusar, tapi agak lebih rendah dalam anatomi. Penyesuaian ini adalah bagian inovatif dari gambar Leonardo dan apa yang membedakannya dari ilustrasi sebelumnya. Dia juga berangkat dari Vitruvius dengan menggambar lengan terangkat ke posisi di mana jari yang sejajar dengan bagian atas kepala, bukan sudut Vitruvius yang jauh lebih rendah, di mana lengan membentuk garis melewati pusar.Gambar itu sendiri sering digunakan sebagai simbol tersirat dari pentingsimetridari tubuh manusia, dan dengan perpanjangan, darialam semestasecara keseluruhan.Mungkin diperhatikan dengan memeriksa gambar bahwa kombinasi lengan dan posisi kaki benar-benar menciptakan enam belas pose yang berbeda. Pose dengan lengan lurus keluar dan kaki bersama-sama terlihat akan tertulis di alun-alun ditumpangkan. Di sisi lain, "menyebar-elang" berpose terlihat akan tertulis dalam lingkaran ditumpangkan.Gambar ini dibeli dari Pagave Gaudenzio de 'olehGiuseppe Bossi,yang dijelaskan, dibahas dan diilustrasikan dalam monografi nya pada LeonardoThe Last Supper,Del Cenacolo di Leonardo da Vinci libri quattro(1810).Tahun berikutnya Ia dikutip bagian dari monografi nya peduli denganVitruvian Mandan diterbitkan sebagaiDelle Opinioni di Leonardo da Vinci intorno alla simmetria de'Corpi Umani(1811), dengan dedikasi untuk temannyaAntonio Canova.Setelah kematian Bossi ini pada 1815Manusia Vitruviandiakuisisi, bersama dengan sebagian besar gambarnya, olehAccademia.