From the top of the shoulder to the point of the elbow is as far as from that point to the joints of the four fingers with the palm of the hand, and each is 2 faces.

[5]*a e* is equal to the palm of the hand, *r f* and *o g* are equal
to half a head and each goes 4 times into *a b* and *b c*. From *c*
to *m* is 1/2 a head; *m n* is 1/3 of a head and goes 6 times into
*c b* and into *b a*; *a b* loses 1/7 of its length when the arm is
extended; *c b* never alters; *o* will always be the middle point
between *a* and *s*.

*y l* is the fleshy part of the arm and measures one head; and when
the arm is bent this shrinks 2/5 of its length; *o a* in bending
loses 1/6 and so does *o r*.

*a b* is 1/7 of *r c*. *f s* will be 1/8 of *r c*, and each of those
2 measurements is the largest of the arm; *k h* is the thinnest part
between the shoulder and the elbow and it is 1/8 of the whole arm *r
c*; *o p* is 1/5 of *r l*; *c z* goes 13 times into *r c*.

[Footnote: See Pl. XX where the text is also seen from lines 5-23.]

Taken from
*The Notebooks of Leonardo da Vinci*
edited by Jean Paul Richter, 1880.

. . .

329,

330,

On the central point of the whole body.

The relative proportions of the torso and of the whole figure.

The relative proportions of the head and of the torso.

The relative proportions of the torso and of the leg.

335,

The relative proportions of the torso and of the foot.

The proportions of the whole figure.

338,

339,

340,

The torso from the front and back.

Vitruvius’ scheme of proportions.

The arm and head.

Proportions of the arm.

345,

346,

347,

348,

The movement of the arm.

350,

351,

352,

353,

The movement of the torso.

355,

356,

357,

358,

359,

360,

The proportions vary at different ages.

362,

363,

364,

365,

366,

The movement of the human figure.

368,

. . .