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Vitruvian Man
Introduction
The Vitruvian Man is a world-renowned drawing created by Leonardo da Vinci around the year 1487. It is
accompanied by notes based on the work of Vitruvius. The drawing, which is in pen and ink on paper,
depicts a nude male Dgure in two superimposed positions with his arms and legs apart and simultaneously
inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or,
less often, Proportions of Man. It is stored in the Gallerie dell’Accademia in Venice, Italy, and, like most
works on paper, is displayed only occasionally.

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Leonardo da Vinci, Vitruvian Man, 1487, 34.4 × 25.5 cm (13.5 × 10.0 in)

A passage from Roman architect Vitruvius (Marcus Vitruvius Pollio), describing the perfect human form in
geometrical terms, was the source of inspiration for numerous renaissance artists. Only one of these, the
incomparable Leonardo da Vinci, was successful in correctly illustrating the proportions outlined in
Vitruvius’ work De Architectura, and the result went on to become the most recognized drawings in the
world, and came to represent the standard of human physical beauty. It was the version produced by
Leonardo da Vinci, whose vast knowledge of both anatomy and geometry made him uniquely suited to the
task.

The drawing is based on the correlations of ideal human proportions with geometry described by the
ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human
Dgure as being the principal source of proportion among the Classical orders of architecture. Other artists
had attempted to depict the concept, with less success. The drawing is traditionally named in honour of the
architect.

The V i t r u v i a n M a n image exempliDes the blend of art and science during the Renaissance and 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 a cosmograDa 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.” It is also
believed by some that Leonardo symbolized the material existence by the square and spiritual existence by
the circle. [ Source: Wikipedia.org ]

Vitruvius, De Architectura: T H E P L A N N I N G O F T E M P L E S , B o o k 3 , C h a p t e r I
1. The planning of temples depends upon symmetry: and the method of this architects must diligently
apprehend. It arises from proportion (which in Greek is called analogia). Proportion consists in taking a Dxed
module, in each case, both for the parts of a building and for the whole, by which the method of symmetry
is put to practice. For without symmetry and proportion no temple can have a regular plan; that is, it must
have an exact proportion worked out after the fashion of the members of a Dnely-shaped human body.
2. For Nature has so planned the human body that the face from the chin to the top of the forehead and the
roots of the hair is a t e n t h p a r t ; also the palm of the hand from the wrist to the top of the middle Dnger is
as much; the head from the chin to the crown, a n e i g h t h p a r t ; from the top of the breast with the bottom of
the neck to the roots of the hair, a s i x t h p a r t ; from the middle of the breast to the crown, a f o u r t h p a r t ; a
t h i rd p a r t of the height of the face is from the bottom of the chin to the bottom of the nostrils; the nose
from the bottom of the nostrils to the line between the brows, as much; from that line to the roots of the
hair, the forehead is given as t h e t h i rd p a r t . The foot is a s i x t h of the height of the body; the cubit a
q u a r t e r , the breast also a q u a r t e r . The other limbs also have their own proportionate measurements. And
by using these, ancient painters and famous sculptors have attained great and unbounded distinction.
3. In like fashion the members of temples ought to have dimensions of their several parts answering

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suitably to the general sum of their whole magnitude. Now t h e n ave l i s n a t u ra l l y t h e e x a c t c e n t re o f t h e

b o d y . For if a man lies on his back with hands and feet outspread, and the centre of a c i rc l e is placed on
his navel, his Dgure and toes will be touched by the circumference. Also a s q u a re will be found described
within the Dgure, in the same way as a round Dgure is produced. For if we measure from the sole of the foot
to the top of the head, and apply the measure to the outstretched hands, the breadth will be found equal to
the height, just like sites which are squared by rule.
4. Therefore if Nature has planned the human body so that the members correspond in their proportions to
its complete conDguration, the ancients seem to have had reason in determining that in the execution of
their works they should observe an exact adjustment of the several members to the general pattern of the
plan. Therefore, since in all their works they handed down orders, they did so especially in building temples,
the excellences and the faults of which usually endure for ages. [Source: aiwaz.net]

Geometrical construction of the Vitruvian Man by

Leonardo da Vinci
It is assumed that proportions of the circle and square refect G o l d e n D i v i s i o n . Here we present analysis
that shows that this assumption is incorrect.

If a circle has radius = 1 unit, square side is equal to:

1.656 for Vitruvian Man

1.618 for Golden section construction
1.571 for the condition: circumference of the circle = perimeter of the square
1.772 for the condition: area of the circle = area of the square

Fig. 1 Comparison of true Golden Rectangle with Vitruvian Man drawing

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Fig. 2 Circle and square based on Golden Section

Squaring the circle is a problem proposed by ancient geometers. It is the challenge of constructing a square
with the same area as a given circle by using only a Dnite number of steps with compass and straightedge.

Fig. 2b  Squaring the circle.

Image on the right: Squaring the circle: the areas of this square and this circle are equal.
Image on the left: Circumference of the circle equals the perimeter of the square.

Fig. 2b L e f t shows a c i rc l e w i t h R a d i u s = 1 and a square with side = 1.571.

The Circumference of the Circle = 6.28… [ 2 x Pi = 6.28 ]
The square with side 1.571 has perimeter equal 6.28 [ 4 x 1.571 = 6.28 ].

Fig. 2b R i g h t shows a c i rc l e w i t h R a d i u s = 1 and a square with side = 1.772.

The Area of the circle is 3.14 [ as determined by pi multiplied by the radius squared ].
The area of the square is also 3.14…  [1.772 x 1.772 ].

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Vitruvian Man – methods of geometrical construction of the circle

and the square
The simplest composition is based on a square, which is duplicated and rotated 45º to form an octagram. 
The distance between the base line of the Drst square and the apex of the rotated one simply represents the
diameter of the circle.

Fig. 3a The simplest way to describe

the geometrical construction of the Vitruvian Man.

Fig.3b Steps explaining the simplest

geometrical construction of the Vitruvian Man.

Another method of geometrical construction of the Vitruvian Man

Step 1: Draw a square and circle (radius R1) as shown on the Fig. 4

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Fig. 4

Step 2: Move circle so point A overlaps with point B (see Fig. 5)

Fig. 5

Step 3: Locate center of the Dnal circle (point O) by Dividing distance AB in a half.
Draw new circle with radius R2=OA (see Fig.6)

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Fig. 6

The result matches perfectly Leonardo’s drawing:

Fig. 7 Superimposed image of Fig.6 and Leonardo’s drawing.

Related articles: Fibonacci Numbers in Nature & the Golden Ratio

Article Source: Vitruvian Man

PS Vitruvian-Man omission/oversight
By Anthony G. Cila

3D explanation of Vitruvian Man drawing

I greatly appreciated you article and graphics, well stated.  However, how is it you missed what was actually
drawn/alluded to by Da Vinci?

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While it is fashionable to assume he may have been attempting the “rounding the square”,  of missed
relationships to the golden rule… such is a plausible distraction from what is actually depicted… at Drst
“glance” (the error most commonly made… exposes the genius the master has relied upon to conceal a
greater truth):
 
1) a well proportioned man (measurements alluded to based on “a foot” and its/his relationship to “a cubit”)
2) inside a square
3) inside a circle
 
… a l l a re de p i c t e d a s t w o di m e n s i o n a l R g u re s ( b u t t h e m a n i s n o t a t w o di m e n s i o n a l o b je c t , n e i t h e r
s h o u l d o n e a s s u m e i t i s a s q u a re o r c i rc l e ) .
 
…it appears to be drawn “as if to scale” but oddly, not actually drawn to scale
(i.e. the man is 4 cubits tall… by Da Vinci’s own “standard”… a “foot and a half” each cubit is six “feet”
(oddly he didn’t use an inch to represent a foot in keeping with his scale scale, as multiple measurement
systems were in play then)
…drawn on parchment approximately 13.5 inches by 10 inches the images are not drawn in inches, instead
he free handed them
(perhaps he actually used centimeters/millimeters or fractions of inches?)
(digitally we have “pixel” counts of 137-139 for an imperfect circle and 224-225 of a near perfect square)
…the square and circle do not seem to be related mathematically (leastwise as erroneously expected…
knowing full well Pi and Phi are irrational numbers)
(exact matches cannot made using irrational numbers, even if the “square’s sides are a multiple of Pi (or
Phi) how could the square be “rounded” unless “rounding” is employed)
 
T h u s , t h e s q u a re a n d c i rc l e a re , l i ke t h e 3 D m a n , re p re s e n t i n g 3 D o b j e c t s ( a c u b e a n d a s p h e re …
b o t h o f w h i c h c o n t a i n t h e s a m e vo l u m e re l a t i ve to t h e i r s i ze s … t h a t i s t h e c o m p a r i s o n D a V i n c i i s
c o n c e a l i n g i n p l a i n v i e w…   along with what had to be rounding the irrational aspects of the equation)… that
is how they are related mathematically… in which ever unit of measure one chooses to use…. where you
choose to do your rounding directly infuences the accuracy of the outcome, but there should be no mistake
in the obvious once revealed.
 
Typically Da Vinci seems to be rounding (irrationally) sometimes at the tenth and other times elsewhere…
 
World-Mystery measurements/Dgures result in the following volume(s):
 
… with a cube: 2 x 2 x 2 = 8
…and an R2 (Fig 6) of 1.2071:  rounded 1.21
…1.21 (to the 3rd power) x Pi (rounded to 3.142) x (4/3) =
…1.77 (rounded 1.8) x Pi (3.142) x (4/3) = 7.54 (who wouldn’t round that up to “8” not only irrational numbers
must be rounded to be used/Dt)
…1.77 (rounded to “2”) x Pi x (4/3) = 8.34 (who wouldn’t round that down to 8, even compound rounding

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achieves the desired answer, his answer)

 
If his cube has a SIDE= 6 x 6 x 6 = 216 is the volume
If your R2 theory is correct his s p h e re R a d i u s = 3 . 6 2 1 (but its off by less than a tenth) because,
His sphere requires a Radius=: 3 . 7 2 2 ( to t h e 3 rd p o w e r ) x P i ( ro u n d e d to 3 . 1 4 2 ) x ( 4 / 3 ) = 2 1 6
 
…a 139 pixel circle/sphere radius and a 224 pixel square/cube side work quite well together requiring no
rounding whatsoever (and achieve a far less than a % error)… t h i s i s n o d o u b t w h a t D a V i n c i w a s a c t u a l l y
d o i n g despite the herculean efforts of the various math departments world wide in depth analysis (some
measuring inside, on and outside the objects… ignoring his work is more carved onto the paper (delineating
actual boundaries) and subsequently traced… its can be viewed at the museum in Venice (for closer
inspection/measurement). 
 
Along those lines with his i m p e r fe c t c i rc l e / s p h e re’s ra d i u s measured at 137-139 (in pixels) and his
square/cube’s at 225 (pixels) an interesting anomaly presents itself and should be noted:
 
1 3 7 + 2 2 5 + P i ( ro u n d e d 3 . 1 4 2 ) = 3 6 5 . 1 4 2 d ay s i n a y e a r (off by less than one tenth(?) just like his
sphere and cube volumes). 
 
Clearly there is more going on in his drawing than the combined intellect of the last 600+ years (leastwise
until I came along to s o l v e t h e m i s i n t e r p re t a t i o n o f t h e 3 D o b j e c t s d e p i c t e d i n t h e 2 D re n d e r i n g o f t h e
V i t r u v i a n m a n ), enjoy…
 
Its obvious Da Vinci was taking his liberty with rounding… at his convenience (lacking an IBM/TI calculator),
wink, and depending on where he rounded he could easily have thought he hit “the golden rule” too.
Filed Under: Alchemy, Ancient Writings, Life, Science, Strange Artifacts
Tagged With: 1.618, Body Proportions, Circle Radius, construction, Da Vinci, design, drawing, Geometric Principles,
geometric principles of Vitruvian Man, geometry, golden division, Golden Ratio, golden section, Human Proportions,
image, Leonardo da Vinci, Man Drawing, phi, photo, Pi, Radius Squared, Renaissance Art, Vitruvian Man, Vitruvius

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