|about this site|
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 p14). Having had access to Albertis and Vitruvius treatises, it is no surprise that Leonardo produces his version of the Vitruvian man in his notebooks in 1490.
This rendering of the Vitruvian Man is fundamentally different than others in two ways: The circle and square image are 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).