Editing Vitruvian Man (section)

==Background==
===Historical context===
The moderately successful architect and engineer [[Vitruvius]] lived from {{circa|80|20}} BCE, primarily in the [[Roman Republic]].{{sfn|Zöllner|2019|p=112}} He is best known for authoring {{lang|la|[[De architectura]]}} (''On Architecture''), later called the ''Ten Books on Architecture'', which is the only substantial architecture treatise that survives from antiquity.{{sfn|Isaacson|2017|p=149}} The work's third volume includes a discussion concerning [[body proportions]],{{sfn|Bambach|2019a|p=224}} where the figures of a man in a circle and a square are respectively referred to as ''homo ad circulum'', ''homo ad quadratum''.{{sfn|Zöllner|2019|p=112}} Vitruvius explained that:

{{quote|In a temple there ought to be harmony in the symmetrical relations of the different parts to the whole. In the human body, the central point is the navel. If a man is placed flat on his back, with his hands and feet extended, and a compass centered at his navel, his fingers and toes will touch the circumference of a circle thereby described. And just as the human body yields a circular outline, so too a square 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 a perfect square.|source=Vitruvius in ''De architectura'', [[:s:Page:Vitruvius the Ten Books on Architecture.djvu/103|book three, chapter one]]{{sfn|Isaacson|2017|p=150}}}}

19th-century historians often postulated that Leonardo had no substantial inspiration from the ancient world, propagating his stance as a "modern genius" who rejected all of classicism.{{sfn|Marani|2003|p=210}} This has been heavily disproven by many documented accounts from Leonardo's colleagues or records of him either owning, reading, and being influenced by writings from antiquity.{{sfn|Marani|2003|p=210}} The treatise of Vitruvius was long kept obscurely in monk's manuscript copies, but "rediscovered" in the 15th century by [[Poggio Bracciolini]] among works such as ''[[De rerum natura|De Rerum natura]]''.{{sfn|Isaacson|2017|p=149}} Many artists then attempted to design figures which would satisfy Vitruvius' description, with the earliest being three such images by [[Francesco di Giorgio Martini]] around the 1470s.{{sfn|Isaacson|2017|p=151}}{{sfn|Palmer|2018|p=153}} Leonardo may have been influenced by the architect [[Giacomo Andrea]], with whom he records as having dined within 1490.{{sfn|Isaacson|2017|pp=152–153}} Andrea created his own Vitruvian Man drawing that year, which was unknown to scholars until the 1980s.{{sfn|Isaacson|2017|pp=152–153}}

<gallery mode="packed" heights="260px" perrow="3">
De Architectura030.jpg|A ''Vitruvian Man'' depiction in the edition of {{lang|la|[[De Architectura]]}} by [[Vitruvius]]; illustrated edition by [[Cesare Cesariano]], 1521
File:FGMartini1.jpg|One of [[Francesco di Giorgio Martini]]'s three attempts at creating the ideal "Vitruvian Man"
File:Vitruvian Man by Giacomo Andrea.jpg|A "Vitruvian Man" prototype by [[Giacomo Andrea]], 1490
</gallery>

===Creation===
[[File:Leonardo da Vinci - RCIN 919131, Recto The proportions of the arm.jpg|thumb|upright=1.2|''The proportions of the arm'', a drawing by Leonardo which was probably in preparation for the ''Vitruvian Man'']]
Leonardo's version of the ''Vitruvian Man'' corrected inaccuracies in Vitruvius's account, particularly related to the head, due to use of book two of the ''[[De pictura]]'' by [[Leon Battista Alberti]].{{sfn|Bambach|2019a|p=224}} Earlier drawings of the same subject "assumed that the circle and square should be centered around the navel", akin to Vitruvius's account, while Leonardo made the scheme work by using the man's genitals as the center of the square, and the navel as the center of the circle.{{sfn|Kemp|2019|p=85}} It is likely that Leonardo's drawings dated to 1487–1490, and entitled ''The proportions of the arm'', were related to the ''Vitruvian Man'', possibly serving as preparatory sketches.{{sfn|Syson|Keith|Galansino|Mazzotta|2011|p=150}}

Some commentators have speculated that Leonardo incorporated the [[golden ratio]] in the drawing, possibly due to his illustrations of [[Luca Pacioli]]'s ''[[Divina proportione]]'', partially plagiarized from [[Piero della Francesca]],{{sfn|Mackinnon|1993|p=165}}{{refn|The third section of Pacioli's ''[[Divina proportione]]'' is essentially an uncredited Italian translation of della Francesca's ''[[De quinque corporibus regularibus]]''{{sfn|Mackinnon|1993|p=165}}|group=n}} concerning the ratio.{{sfn|Bambach|2019a|p=225}}{{sfn|Bambach|2019b|p=238}} However, the ''Vitruvian Man'' is likely to have been drawn before Leonardo met Pacioli, and there has been doubt over the accuracy of such an observation.{{sfn|Murtinho|2015}}  As architectural scholar Vitor Murtinho explains, a circle tangent to the base of a square, with the radius and square sides related by the golden ratio, would pass exactly through the top two corners of the square, unlike Leonardo's drawing. He suggests instead constructions based on a [[regular octagon]] or on the [[vesica piscis]].{{sfn|Murtinho|2015}}

Leonardo's drawing is almost always dated to around 1490 during his [[Leonardo da Vinci#First Milanese period (c. 1482–1499)|first Milanese period]].{{sfn|Zöllner|2019|p=112}}{{sfn|Arasse|1998|p=105}} The exact dating is not completely agreed upon and earlier generations of art historians, including [[Arthur E. Popham]], frequently dated the work anywhere from 1485 to 1490.{{sfn|Bambach|2019a|p=224}} Two leading art historians differ in this respect; [[Martin Kemp (art historian)|Martin Kemp]] gives {{circa|1487}},{{sfn|Kemp|1981|p=116}}{{refn|The unexplained dating of the drawing to 1497 in {{harvtxt|Kemp|2019|p=85}} is almost certainly a typo, which was meant to be the 1487 that {{harvtxt|Kemp|1981|p=116}} gives.|group=n}} while [[Carmen C. Bambach]] contends that the earliest possible date—which "one may not entirely discount"—is 1488.{{sfn|Bambach|2019a|p=224}} Bambach, in addition to Pedretti, Giovanna Nepi Scirè and Annalisa Perissa Torrini give a slightly broader range of {{circa|1490–1491}}.{{sfn|Bambach|2019b|p=237}} Bambach explains that this range fits "best with the manner of exact, engraving-like parallel hatching contained within robust pen-and-ink outlines, over traces of lead paint, stylus-ruling, and compass composition".{{sfn|Bambach|2019a|p=224}}

===Provenance===
After Leonardo's death, the drawing most likely passed to his student [[Francesco Melzi]] (1491–1570),{{sfn|Bambach|2019a|p=224}} who was [[Bequest |bequeathed]] most of Leonardo's possessions.{{sfn|Kemp|2003|loc=§1 "Life and works"}} From then on, the drawing's provenance history is almost certain: it found its way to [[Cesare Monti]] (1594–1650), was passed to his heir Anna Luisa Monti, then to the De Page family, first {{ill|Venanzio de Pagave|qid=Q47015938}} (in 1777) and then his son Gaudenzio de Page.{{sfn|Bambach|2019a|p=224}}{{sfn|Perissa Torrini|2009|p=17}} While owned by the elder De Page, he convinced the engraver Carlo Giuseppe Gerli to publish a book of Leonardo's drawings, which would be the first widespread dissemination of the ''Vitruvian Man'' and many other Leonardo drawings.{{sfn|Turner|1993|pp=84–85}} The younger de Page sold the drawing to [[Giuseppe Bossi]], who described, discussed, and illustrated it in the fourth chapter of his 1810 monograph on Leonardo's ''[[The Last Supper (Leonardo)|The Last Supper]]'', {{lang|it|Del Cenacolo di Leonardo da Vinci}} (''On The Last Supper of Leonardo da Vinci'').{{sfn|Mara|2019|p=280}} This chapter was published as a stand-alone study the next year {{lang|it|Delle opinion di Leonardo da Vinci intorno alla simmetria de' corpi umani}} (''On the opinions of Leonardo da Vinci regarding the symmetry of human bodies'').{{sfn|Mara|2019|p=280}} After Bossi's death in 1815, the drawing was sold to the abbot Luigi Celotti in 1818, and entered into the Venetian [[Gallerie dell'Accademia]]'s collection in 1822, where it has since remained.{{sfn|Bambach|2019a|p=224}} Because of its high artistic quality and its well-recorded history of provenance, Leonardo's authorship of the ''Vitruvian Man'' has never been doubted.{{sfn|Bambach|2019a|p=224}}

The ''Vitruvian Man'' is rarely displayed as extended exposure to light would cause fading; it is kept on the fourth floor of the Gallerie dell'Accademia, in a locked room.{{sfn|Isaacson|2017|p=153}} In 2019, the [[Louvre]] requested to borrow the drawing for their monumental ''Léonard de Vinci'' exhibition, which celebrated the 500th anniversary of the artist's death.{{sfn|Giuffrida|2019|loc=§ paras. 1–3}} They faced substantial resistance from the heritage group [[Italia Nostra]], who contended that the drawing was too fragile to be transported, and filed a lawsuit.{{sfn|Giuffrida|2019|loc=§ para. 2}} At a hearing on 16 October 2019, a judge ruled that the group had not proven their claim, but set a maximum amount of light for the drawing to be exposed to as well as a subsequent rest period to offset its overall exposure to light.{{sfn|Prisco|2019|loc=§ paras. 5–6}} The Louvre promised to lend paintings by [[Raphael]] to Italy for his own 500th death anniversary; Italy's Minister for Cultural Affairs [[Dario Franceschini]] stated that "Now a great cultural operation can start between Italy and France on the two exhibitions about Leonardo in France and Raphael in Rome."{{sfn|Prisco|2019|loc=§ para. 7}}

===Legal dispute===
In 2022, the Gallerie dell'Accademia, which owns the drawing, sued German jigsaw puzzle manufacturer [[Ravensburger]] for reproducing the artwork in one of the company's jigsaw puzzles. Ravensburger started selling the 1,000-piece jigsaw puzzle in Italy in 2009 and in 2019 the museum sent the company a [[cease-and-desist letter]] and demanded 10% of the revenue. Ravensburger refused to comply and subsequently was sued by the museum under Italy's 2004 {{ill|Cultural Heritage and Landscape Code|it|Codice dei beni culturali e del paesaggio}} which governs reproductions of works deemed to be under Italy's cultural heritage. In its objections, the German company claimed that it had the right to reproduce the artwork because it was already in the [[public domain]] for centuries and that the reproduction occurred outside Italy and thus not subject to Italy's Cultural Heritage Code. An Italian court rejected Ravensburger's arguments and decided in favor of the museum.<ref name=":0">{{Cite web |last=Barry |first=Colleen |date=2024-03-28 |title=A fight to protect the dignity of Michelangelo's David raises questions about freedom of expression |url=https://apnews.com/article/michelangelo-david-statue-italy-protection-heritage-3fa1b7185fea36003e064fa6e2c309fd |access-date=2024-03-29 |website=AP News |language=en}}</ref> In a ruling dated 17 November 2022, the court ordered the puzzle company to cease producing the product for commercial purposes and levied a fine of 1,500 euros for every day that the company failed to comply.{{sfn|Dafoe|2023}}{{sfn|Gallo|2023}}{{sfn|Borgogni|2023}} In March 2024, a German court ruled in favor of the company, stating that the Cultural Heritage Code is not applicable outside Italy, and therefore a violation of the sovereignty of the individual states. In response, an Italian government official argues they will challenge this "abnormal" German ruling even before the European and international courts.<ref>{{cite news |url=https://www.nytimes.com/2024/04/10/world/europe/vitruvian-man-puzzle-leonardo-da-vinci-ravensburger.html |title=Da Vinci's Been Dead for 500 Years. Who Gets to Profit from His Work? |last=Taylor |first=Derrick Bryson |date=10 April 2024 |access-date=24 May 2024 |work=The New York Times}}</ref>

Licensing fees for famous artworks are an important source of income for Italian museums, and Italian law says that museums owning famous public domain works hold the copyright on those works forever and can control who is allowed to make copies and derivative works of them.<ref name=":0" />