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Art of Surgery

Our Concept of Art of Surgery is from the "Vitruvian Man" concept which is translated to "The proportions of the human body according to Vitruvius" or publicly known as "da Vinci human body anatomy" (the art of surgery). The Vitruvian Man (Italian: Le proportion del Corpo Humano secondo Vitruvio, which is translated to "The proportions of the human body according to Vitruvius"), or simply L'Uomo Vitruviano (Italian pronunciation: [ˈlwɔːmo vitruˈvjaːno]), is a drawing made by the Italian polymath Leonardo da Vinci around 1490. It is accompanied by notes based on the work of the architect Vitruvius. The drawing, which is in ink on paper, depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square.

The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; the head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth. If we take the height of the face itself, the distance from the bottom of the chin to the underside of the nostrils is one third of it; the nose from the underside of the nostrils to a line between the eyebrows is the same; from there to the lowest roots of the hair is also a third, comprising the forehead. The length of the foot is one-sixth of the height of the body; of the forearm, one fourth; and the breadth of the breast is also one fourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown. Similarly, in the members of a temple, there ought to be the greatest harmony in the symmetrical relations of the different parts to the general magnitude of the whole. Then again, in the human body, the central point is naturally the navel. For if a man is placed flat on his back, with his hands and feet extended, and a pair of compasses centered at his navel, the fingers, and toes of his two hands and feet will touch the circumference of a circle described therefrom.

And just as the human body yields a circular outline, so too a square figure may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of plane surfaces which are perfectly square. Leonardo's drawing combines a careful reading of the ancient text with his own observation of actual human bodies. In drawing the circle and square he observes that the square cannot have the same center as the circle but is centered at the groin. This adjustment is the innovative part of Leonardo's drawing and what distinguishes it from earlier illustrations. He also departs from Vitruvius by drawing the arms raised to a position in which the fingertips are level with the top of the head, rather than Vitruvius's much lower angle, in which the arms form lines passing through the navel.

The drawing itself is often used as an implied symbol of the essential symmetry of the human body, and by extension, the symmetry of the universe as a whole.

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