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page055from Building IdeasThe beauty of bodies does not consist in the shadow of materiality, but in the clarity and gracefulness of form, not in the hidden bulk, but in a kind of luminous harmony, not in an inert and stupid weight, but in a fitting number and measure. Light, gracefulness, proportion, number and measure, which we apprehend by thought, vision and hearing.6
The architects of the Renaissance tried to demonstrate these principles in the many depictions of the famous “Vitruvian” figure. With arms extended in a “crucified” posture the body would usually be shown inside a circle and a square. Leonardo da Vinci produced perhaps the most memorable version, although Cesariano and Francesco di Giogio both used a similar illustration (see Figure 1 below). The link was the notion of a set of timeless ordering principles, which Vitruvius had maintained could be discovered in the architecture of the ancients. As he described it himself, in the chapter on the layout of temples: Therefore if it is agreed that number is found from the articulation of the body, and that there is a correspondence of the fixed ration of the separate members to the general form of the body, it remains that we take up those writers who in planning the temples of the immortal gods so ordained the parts of the work that, by the help of proportion and symmetry, their several and general distribution is rendered congruous.7 By the time the model of the Renaissance treatise was first imitated in England, in the shape of Henry Wotton’s book The Elements of Architecture(1624), the harmonic correspondence between the body and the cosmos had also appeared in the writings of the metaphysical poets. George Herbert in particular, in his poem “Man”, described an identical fascination with harmony and proportion: 6 Marsilio Ficino, letter to Giovanni Cavalcanti, quoted in Albert Hofstadter and Richard Kuhns (eds), Philosophies of Art and Beauty, University of Chicago Press, Chicago, 1964, p 204. 7 Vitruvius, On Architecture, translated by Frank Granger, Harvard University Press, Cambridge, 1983, Book III, Ch. I, p 165-7
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