Albrecht Dürer's Description of Human Proportion

The First Book

The Neck, under the Chin, is a 16th part.
At the hollow of the throat original: "Halskuyl," the suprasternal notch, I make the shoulders broad, a 6th part.
Beneath that, the shoulder joints Oysel: an archaic Dutch anatomical term, often referring to the armpit or the joint of the shoulder stand wide from each other, an 11th and 12th part.
I make the Chest, above the armpit, wide, a 4th part.
Between the armpits, a 6th part.
Between the Nipples, a 9th part.
In the soft of the waist original: "het weecke," the fleshy area between the ribs and the hips, two 13th parts.
At the beginning of the Hips, a 6th part.
At the end of the Hips, a 10th and 11th part.
At this height, the Legs stand in the hips wide from each other, a 14th and 15th part.
And I make the Leg broad at the top under the Buttocks, an 11th part.
At the opening or thickness of the leg, a 13th part.
Above the knee, a 16th part.
In the middle of the knee, an 18th part.
Below the knee, a 20th part.

In the middle of the calves, a 15th part.
At the end of the calves, a 20th part.
Where the Leg is above the joint Ghewicht: literally "weight," here referring to the articulation or joint of the foot, I make it broad, a 34th part.
And through the Ankles, a 27th part.
Towards the front of the Foot, a 16th part.
After that, I make the Arm below the armpits, in the middle of the muscle Muys: literally "mouse," a common historical term for the fleshy belly of a muscle, broad, a 24th part.
Behind the Elbow, a 26th part.
In front of the Elbow, a 19th part.
At the joint of the Hand the wrist, a 30th part.
And the open Hand from the inside, a 16th part.
The man seen from behind, I make broad between the shoulders, a 5th part.
And the split of the buttocks original: "het achterste opghespleten", a 10th part.
The heels original: "Verssen", I make broad, a 28th part.
After that, I draw the figure lines by all the marked points, to see this man according to the measurements from the front and from the back, as is drawn hereafter.

I

A detailed woodcut tailpiece featuring a central, stylized lion mask with a fierce expression. The mask is surrounded by symmetrical, swirling acanthus leaf scrollwork and floral blossoms resembling large peonies on either side. A horizontal architectural bar spans the top of the ornament, from which hang decorative tassels and fruit or floral swags. The entire composition is an ornate printer's flourish typical of the 16th or 17th century.