Vitruvian Man, ca. 1490

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Leonardo was firmly convinced, like Pacioli and ancient authors before him, that nature corresponds to a fundamental set of laws, and that these laws appear in their most perfect, their most ideal form in a human being. It would therefore follow that in his constant quest for perfection, both in terms of beauty and realism, Leonardo would try to apply this proportional model in his painting, and particularly in the depiction of portraits.



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