, 2012 2:15 pm
Self is the most hidden thing on earth today - it is occult and esoteric by design
What is it to connect things when all things in a social reality are connected?
You connect words, symbols, glyph and numbers, colors and music notes when they are all made to connect? what are you doing proving whats already
proven? social reality is made of things that connect to man. Architecture is even made from man. Vitruvius said "man is the measure of all things.
Stop connecting things, its a waist of your energy - get to the root of all these things YoursElf - look inside - your stuck in the shapes, in the
box, circle, colums and pyramids that create the arch - close your eyes and look around - if your gonna look out look at nature see it dieing from
these lie man created - You are contributing to your own death and im surrendered to your demise if you are ----
Veiw the image Leonardo DaVinci's Vertruvian Man
a_V ... iatour.jpg
Panton metron anthropos -- Protagoras
"Man is the measure of all Things"
Text accompanying Leonardo DaVinci's Vitruvian Man
Vitruvius, the architect, says in his work on architecture that the measurements of the human body are distributed by Nature as follows that is that 4
fingers make 1 palm, and 4 palms make 1 foot, 6 palms make 1 cubit; 4 cubits make a man's height. And 4 cubits make one pace and 24 palms make a man;
and these measures he used in his buildings. If you open your legs so much as to decrease your height 1/14 and spread and raise your arms till your
middle fingers touch the level of the top of your head you must know that the centre of the outspread limbs will be in the navel and the space between
the legs will be an equilateral triangle.
The length of a man's outspread arms is equal to his height.
From the roots of the hair to the bottom of the chin is the tenth of a man's height; from the bottom of the chin to the top of his head is one eighth
of his height; from the top of the breast to the top of his head will be one sixth of a man. From the top of the breast to the roots of the hair will
be the seventh part of the whole man. From the nipples to the top of the head will be the fourth part of a man. The greatest width of the shoulders
contains in itself the fourth part of the man. From the elbow to the tip of the hand will be the fifth part of a man; and from the elbow to the angle
of the armpit will be the eighth part of the man. The whole hand will be the tenth part of the man; the beginning of the genitals marks the middle of
the man. The foot is the seventh part of the man. From the sole of the foot to below the knee will be the fourth part of the man. From below the knee
to the beginning of the genitals will be the fourth part of the man. The distance from the bottom of the chin to the nose and from the roots of the
hair to the eyebrows is, in each case the same, and like the ear, a third of the face.
to see images of Egyption Vertruvian man click here.
British Museum: Wooden board overlaid with gesso, EGYPT-5601, Sketches and Trial pieces.
This wooden board proves that the ancient Egyptians used a composition of modules - the repetition of the same module throughout the whole composition
- while constructing a human figure whose proportions were the foundation of all compositions. The outlines and the angles of the seated King are
completely defined by the projection grid. This grid was not used only as a tool for transferring the sketch to a larger scale, but most importantly,
it is defining the relations of the various parts among themselves, and the canonical relations between parts and the whole. The right side of the
wooden board obviously represents no hieroglyphs, but seven different lengths that Egyptians used for a cubit. This cubits are not drawn as
hieroglyphs, but their obvious right angle suggests that they are measures, rulers.
The seated figure of an Egyptian king is 15 modules high, whereas the standing figure would hypothetically be 20 modules in height. Vitruvius states
that the head from the chin to the crown represents an eighth part of the whole height. The head of the figure on Egyptian wooden board is 2.5
modules, which is fitting into the height of the seated figure 6 times. A whole number, in this case a sixth part, proves that the head modularly fits
into the whole height just like in Vitruvius' description. If the height of the standing figure is 20 modules, then it is the same relation as
Vitruvius is describing, 2.5 modules are an eighth part of the height. Vitruvius furthermore states that from the middle of the breast to the crown is
a fourth part, which also describes the proportions of Egyptian figure. This relation is also suggestive of the height 20 modules, since it is nicely
fitting into the divisions of the figure represented in drawing, it fits three times in the height of the the seated figure, whereas it would fit four
times in the standing, a simplicity that is suggestive. Other Vitruvius' instructions don't seem to fit in the Egyptian drawing, or are difficult to
prove, like parts concerning to the roots of the hair which is on the drawing elusive. Also the definition of the foot and length of the cubit,
according to Vitruvius a sixth and a quarter are not the same. The foot of the figure seems to measure 3 modules, and the cubit ranging somewhere from
5.5 to 6.5 modules if the seven cubits drawn on the right of the wooden board are measured.
Another interesting feature of this ancient Egyptian composition is that it is not constructed solely on modular grid, but the composition is ruled
also by a triangle, and a square, just like we learn from Leonardo's drawing of Vitruvian Man. In a way, a rigid system of the grid is softened by
The triangle is suggested at the lower right corner of composition. The ends of the staff of the king are touching the corners of the triangle rotated
within a circle with the diameter of 20 modules, which also means that it stands under the angle of 60+30/2 = 75. Fifteen modules of the seated
figure's height is exactly the height of the triangle.
Like in da Vinci's drawing, the center of the standing figure is not the navel as Vitruvius prescribes, but the joint of the legs and the body, in da
Vinci's case the place of phallos, while in this proto-Vitruvian Man, the posterior.
Like in da Vinci's drawing a square plays an important role, but in a slightly different manner. If the circle is 20 modules in diameter, the
inscribed square would have a side: 20 / sqr(2) = 14.14 or 14 modules. Relation between the circle and the square 10 : 7 is a rational approximation
of the square root of 2 from the second of Pell Series:
2nd Pell Serie: 1 - 3 - 7 - 17 - 41 - 99 ... and 3 + 7 = 10
The difference between the circle and the inscribed square is 3 modules on both sides, or the height from shoulders to the top of the head, which fits
in the height of the seating figure 5 times.
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. De Architectura established a system of ratios for the construction of 'perfect' buildings that exhibited
Vitruvius' three necessary principles of durability, usefulness, and beauty. Vitruvius' s system proved a durable one, helping to spark a renewal of
architectural interest in the renaissance. As Vitruvius believed that good architecture was in essence a continuation of the laws of nature, he
demonstrated that his system applied to the formation of natural structures, including man.
Vitruvius, De Architectura: THE PLANNING OF TEMPLES, Book 3, Chapter 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 fixed 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 finely-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 tenth part; also the
palm of the hand from the wrist to the top of the middle finger is as much; the head from the chin to the crown, an eighth part; from the top of the
breast with the bottom of the neck to the roots of the hair, a sixth part; from the middle of the breast to the crown, a fourth part; a third part 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 the third part. The foot is a sixth of the height of the body; the
cubit a quarter, the breast also a quarter. 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 suitably to the general sum of their whole
magnitude. Now the navel is naturally the exact centre of the body. For if a man lies on his back with hands and feet outspread, and the centre of a
circle is placed on his navel, his figure and toes will be touched by the circumference. Also a square will be found described within the figure, in
the same way as a round figure 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 configuration, 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.
Neither Leonardo nor Vitruvius make no mention of the Phallus as the center of the square, but it plays an important role in Leonardo's success. The
side of the square is 4 cubits or 24 palms as can also be measured on the ruler beneath the square, and deduced from the Vitruvius' text. The
diagonal of such a square comes close to 34 palms (33.94... exactly). If we rotate the square around Phallos for 45 degrees we get the upper point of
the circle, and from this we can calculate the diameter of the circle as 29 palms (the difference between the square and the circle is 5 palms).
cubit foot palm inch finger
side of square 4 6 24 72 96
diameter of square 5.66 8.48 33.94 101.8 135.8
diameter of circle 4.833 7.25 29 87 116
circumference of square 16 24 96 288 384
circumference of circle 15.2 22.8 91.1 273.3 364.4
area of square 16 36 576 5184 9216
area of circle 18.35 41.28 660.52 5944.7 10568.3
Table of comparative measures derived from square and circle
relation between square and circle
The two squares, the drawn and the projection square, form an octagram Pell's series are the progressions that approximate the geometry of
proportions originating from the octagram The first of Pell's series is:
1 - 2 - 5 - 12 - 29 - 70 - 169 ...
Both main numbers 24 (2x12) and 29 are members of this series. Leonardo used this progression to rationalise irrational geometry of square root of 2
that rules the geometry of the octagram. As a proof, all other numbers are derived as a combination of the members of the series. The distance between
the two centers, the navel and Phallos, is according to rationalized geometry 2,5 palms, and it seems that the position of palms touching the square
in Thau formation of the figure equals 9,5 palms, again the measure derived from rational approximation of the geometry of the octagram by means of
Pell series. Also the diagonal of the square is calculated from the series as 2x(5+12) = 34 palms.
The composition founded in octagram is one of the most spread cannons of proportions in ancient and classical architecture clearly presented by
enormous opus of research done by Prof. Tine Kurent of Ljubljana School of Architecture, Slovenia. Almost every important christian church has dome
placed on an octagram, and gematric value of Greek spelling for Jesus, ΙΗΣΟΥΣ = 888 associates the number 8 (octagram) with Jesus Christ.
Is it really so simple?
According to the proposed rationalization of Vitruvian Man is the geometrical construction also very simple. The composition is based on a square,
which is duplicated and rotated for 45º to form an octagram. The distance between the base line of the first square and the apex of the rotated one
simply represents the diameter of the circle.
Even Vitruvius mentions the value of the octagon, though in a bit obfuscating manner, while describing the winds:
4. Some have held that there are four winds: the Solanus from the equinoctial east, the Auster from the south, Favonius from the equinoctial west, and
Septentrio from the north. But those who have inquired more diligently lay down that there are eight: especially indeed Andronicus of Cyrrha, who
also, for an example, built at Athens an octagonal marble tower, and, on the several sides of the octagon, had representations of the winds carved
opposite their several currents. - Book I. c. VI: 4
Further on he describes that even the town-planning has to be done according to the octagonal scheme of the winds. It seems that Leonardo
incorporated, in multiple layers, the whole cannon suggested by Vitruvius. It is a strange coincidence that the area of a square with a side of 24
palms is 576 square palms, which is gematric equivalent of Greek word for the wind meaning also Spirit, ΠΝΕΥΜΑ = 576.
The calculated area of the circle is 660 square palms, and the difference between the circle and the square is 660-576 = 84, which is invoking the
gematric value of the master himself:
LEONARDO = 12+5+15+14+1+18+4+15 = 84.
The 'fundamental' measure of 24 palms comes directly from Vitruvius' definition of human height being 4 cubits or 24 palms. Number 4 is of great
importance in the composition of the drawing, emphasized with a square. Number 24 is important because it is 1x2x3x4 = 24, comprising the multiplied
members of the Tetraktys. Vitruvius postulates the smallest module the division of 10 which also resembles the Tetraktys along with the previously
mentioned diagonal of the square, 34 palms long: (1x2x3x4)+(1+2+3+4) = 34 - the Tetraktys numbers multiplied and added up. Half way between 24 and 34
is the diameter of the circle, 29 palms: (24+34)/2 = 29.
module 8 and 22/7
The predominating module of the composition of human body is eight and many lines on the drawing coincide with the lines of the modular plain. The
figure in the form of the letter Thau embraces 22 squares of the composition, whereas on each half remains 21 or 3x7 squares. 22 and 7 are connected
through the rational approximation of π = 22/7.
Number 22 also invokes the total number of Hebrew alefbeth, and numbers 3, 7, and 12 are the numbers of divisions of Hebrew alefbeth into three groups
of letters as described in Sepher Yetzirah - The Book of Formation, a fundamental kabbalistic treatise on the nature of letters and words, suspected
to originate from 13th century but it could be a lot older. The 32 Paths of Wisdom described in Sepher Yetzirah comprise 10 Sephiroth and 22 Letters.
32 Paths are written in the circumference of the modular square 8x4 = 32. The figure is positioned in the shape of T(hau), the 22nd, last letter of
alefbeth. The Tetraktys and the kabbalistic Tree of Life are comparable glyphs, both comprising the ten spheres.
Vitruvius is reporting that the navel is the exact center of the human body. The circle on Leonardo's drawing has it's center in the navel, but if
the figure is 'squared' the center becomes the phallos which is, concerning this drawing from the compositional point of view, more important, since
it is the center of the underlying geometry that outlines the basic features of the figure.
The most fundamental composition consists of a circle, a square, and a triangle, a sigillum known to magicians and alchemist, sometimes called the
Universal Seal of Light or the Seal of Hermes. The compositional triangle on this drawing is concealed, even though that it outlines important
segments. It is drawn in the circle within the square and it coincides with the progression of squares as depicted on the illustration.
progression of squares
The main proportional lines come from the progression of squares, every second square is half the size of the original, and the measures thus obtained
are the same as described by Vitruvius.
Distinguished is also the triangle with the size of a square and apex in the navel.
It seems that the drawing, or better the original design as explained by Vitruvius, contains many layers of geometry and symbolism that concord in one
single image delineating the proportions of the human body. This idea of 'reason' governing 'form' was the fundamental theme of the Renaissance
and is traceable in best architecture and art in general. It would not be odd if Leonardo had a close contact with scholars that spread the source of
the Renaissance thought which didn't distinguish between art, science, and magick in terms of conflicting or opposing discourses as is the case
Notice the 64 square chess board on the vertruvian mans scetch here.