Wendy Decter, M.D.
Throughout the teaching of this unit I will draw from medical and anatomic examples to
create relevancy and links to students' lives.
Lesson 1: The What and Why of Anatomy and Art
The unit begins with a brain storming session. I will pose the question "What is anatomy?" A response will be generated and the class will develop a working definition as a base for further study. I will ask the question "Why do we study Anatomy?" "How do we study Anatomy now?" "How did we study Anatomy in the past?" I will relate the study of Anatomy to specific medical cases. For example, "How does a surgeon know where to make an incision to remove your gall bladder?" "How does the Orthopedist know where to put the cast when you break a bone?" "Why does the doctor hit just below the knee with the hammer and what does it mean when your foot kicks her?" High School students are virtually obsessed with learning about their bodies and should have no trouble developing and answering questions of their own. Expansion of the topic beyond medicine to a historical and multicultural perspective through discussion and examples will follow in other lessons. We will relate Art and Science and the study of Anatomy to the Art of Anatomy.
All scientists start with careful observation of the human body and of their environment. Measurements of doorways, beds, desks, tables. cars and tools that humans use (i.e. circumference of a screwdriver, steering wheel, bowls, plates, etc.) will be taken for homework prior to Lesson 1. Students will be encouraged to make sketches of at least five different objects and measure and label dimensions. Discussion will center on why objects have these dimensions as related to Anatomy. Discussion also will include individuals with special needs using the same or different tools.
"Intruder" Observation Exercise in class: Another teacher comes into the room unexpectedly, dressed outlandishly with hat, umbrella, raincoat, wig, etc. and says something loudly and storms out of the classroom. Students must immediately write down all details of the encounter, including the "intruders' " wardrobe, what was said, etc. Responses will be read aloud and then the "intruder" comes back. How accurate were the observations?
Lesson 2: Marcus Vitruvius Pollio: Search for Perfection
This lesson will be based on a translation of a passage in Book Three of Marcus Vitrivius Pollios'
De Architectura.
Vitruvius, as he is known, was an ancient Roman architect who wrote a series of ten books about the fundamentals of architecture. Few very early architectural writings survive. Vetruvius' collection of works not only survived but was revisited during the Renaissance by many artists. The passage, "The Planning of Temples", which we will use as the basis of our lesson, relates the building of a temple to the proportions of the human body. Vetruvius believed that human proportions were an archetype of perfection. Students will be have the opportunity to explore, interpret in their own words, and draw models of Vitruvius' proportions of man.
What follows is a translation passage 2 from Book 3, c I, of Vitruvius' "
De Architectura"
:
-
For Nature has so planned the human body that the face from the chin to the
-
top of the forehead and the roots of the hair is a tenth part; also the palm of the
-
hand from the wrist to the top of the middle finger is as much; the head from the
-
chin to the crown, an eighth part; from the top of the breast with the bottom of the
-
neck to the roots of the hair, a sixth part; from the middle of the breast to the crown
-
a fourth part; a third part of the height of the face is from the bottom of the chin
-
to the bottom of the nostrils; the nose from the bottom of the nostrils to the line
-
between the brows, as much; from that line to the roots of the hair, the forehead
-
is given as the third part; The foot is a sixth of the height of the body; the cubit a
-
quarter, the breast also a quarter. The other limbs also have their own proportionate
-
measurements. And by using these ancient painters and famous sculptors have
-
attained unbounded distinction.
4
Students will be given copies of this passage, sketch pads and pencil and free reign to draw
well-proportioned humans. Two 45 minute or one 90 minute class period should be utilized. Students may choose to work in pairs or alone and all work will be shared and discussed.
Lesson 3: How Has Man Depicted Man Over the Centuries?
As a group we will take a guided "tour" through the
Dream Anatomy
exhibit of the National Library of Medicine in Bethesda Maryland. This exhibition of works of art spanning 1500 years of anatomical drawing was on display at the National Library of Medicine from October 2002 to July 2003. Fortunately the exhibit is presented over the Internet along with the curators' comments and historical background information. It is a fascinating "trip" for students and teachers and will generate discussion, creative ideas, and a basis for evaluation.
Lesson 4: Are We Ideal?
This lesson will provide for continued discussion of Vitruvius' work and students' interpretations, conclusions and justifications of their particular drawings. In small groups, students will discuss and critique their products.
Their next small group task will be to devise a method of testing whether or not Vitruvius' postulates hold "true". They will evaluate whether they continue to be applicable today since human growth, health, and longevity have changed over time. Has the "ideal" human changed and if so, how and why? Are we still proportioned in the same way? Is everyone proportioned in the same way? Their materials will consist of string, yardsticks, pencil and paper.
Each group will present their findings in a formal laboratory report, including observations and statements of problem, hypothesis, procedure, data, conclusion, and discussion of validity.
The class as a whole will evaluate these "experiments".
Lesson 5: What About Leonardo?
In this lesson we will address Leonardo's famous drawing of the "Vitruvian Man" from historical, artistic, anatomical and mathematical perspectives.
Students will again have the opportunity to use their critical thinking skills, mathematic ability, and creativity to interpret the next passage of Vitruvius' work (see below), as did Leonardo when hired to illustrate the new translation of
De Architectura.
Students will
Follow in Leonardo's path by being asked to address the same task. Throughout the unit Leonardo's drawing will not be displayed. It will only be shown to the students after this lesson. Although some my look up the drawing before hand, I believe the exercise is still valid. Students will still be testing Vitruvius' theory of proportion and geometry. Is the navel truly the center of the circle?
The following is the translation of passage 3 of Book 3, c I, of
De Architectura
by Vitruvius:
-
In a fashion the members of temples ought to have dimensions of their several parts
-
answering suitable to the general sum of their whole magnitude. Now the navel is
-
naturally the exact centre of the body. For if a man lies on his back with his hands
-
and feet outspread, and the centre of a circle is placed on his navel, his figure and toes
-
will be touched by the circumference. Also a square will be found described within the
-
figure in the same way as a round figure is produced. For if we measure from the sole
-
of the foot to the top of the head, and apply the measure to the outstretched hand, the
-
breadth will be found equal to the height, just like sites which are squared by rule."
5
Small sketches will be drawn and shared as a group. These sketches can be used as studies for the final project. After the sketches are completed and shared we will continue our art history "tour". Interpretations of Vitruvius' work by artists predating Leonardo's will be reviewed to contrast their earlier anatomic attempts with Leonardo's genius. Students will compare and contrast their own work to Leonardo's drawing to determine similarities and differences. They can then rework and rethink their sketches, which will be used for the final project, "The Vitruvian Teen."
Lesson 6: The Vitruvian Teen
Students will complete their final projects, "The Vitruvian Teen". Students will be given the task of creating a life-sized Vitruvian Teen, based on their own proportions. We will use rolls of canvas or butcher paper and students can trace each other or draw themselves free hand in the proper Vitruvian position and proportion. Any sketches or measurements from previous lessons can be used as notes for this assignment. Students can decorate and personalize their Vitruvian Teens as they wish, limited only by the extent of their imaginations. The use of varied media will be encouraged. I intend to partner with the school art teachers who can share skills, facilities, equipment, encouragement and constructive critique. I hope to display the students' work for the entire school population.
Additionally, throughout the course of the year, students will add their creative depictions and constructions of organ systems to their Vetruvian Teens. I believe this will be an engaging activity and serve to help relate internal systems to external anatomy.