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{{Short description|Proportions of the human body in art}}
{{about|proportions of the human body in art|medical use|body shape|the wider topic of body measurement|anthropometry|fashion and dress|clothing sizes}}
[[File:Parmigianino 004.jpg|thumb|''[[Madonna with the Long Neck]]'', c. 1534–1540, by [[Parmigianino]]. As in other [[Mannerist]] works, the proportions of the body – here the [[neck]] – are exaggerated for artistic effect.]]

'''Body proportions''' is the study of artistic [[anatomy]], which attempts to explore the relation of the elements of the [[human body]] to each other and to the whole. These ratios are used in depictions of the human figure and may become part of an [[artistic canons of body proportions|artistic canon of body proportion]] within a culture. [[Academic art]] of the nineteenth century demanded close adherence to these reference metrics and some artists in the early twentieth century rejected those constraints and consciously mutated them.

==Basics of human proportions==
[[Image:Braus 1921 1.png|thumb|upright=0.6<!--size for very long image-->|Human proportions marked out in an illustration from a 20th-century anatomy text-book. Hermann Braus, 1921]]
[[File:Modelling.lanteri.vol.1.p.101.jpg|thumb|upright=0.6|Drawing of a human male, showing the order of measurement in preparation for a figurative art work (Lantéri, 1903)<ref name= Lanteri />]]
It is usually important in [[figure drawing]] to draw the human figure in proportion. Though there are subtle differences between individuals, human proportions fit within a fairly standard range{{snd}} though artists have historically tried to create [[Artistic canons of body proportions|idealised standards]] that have varied considerably over time, according to era and region. In modern figure drawing, the basic unit of measurement is the 'head', which is the distance from the top of the head to the chin. This unit of measurement is credited<ref>{{cite web |url=https://www.louvre.fr/en/oeuvre-notices/hercules#:~:text=The%20influence%20of%20works%20by%20Lysippos |title =Hercules: The influence of works by Lysippos | quote=In the fourth century BCE, Lysippos drew up a canon of proportions for a more elongated figure that that defined by Polykleitos in the previous century. According to Lysippos, the height of the head should be one-eighth the height of the body, and not one-seventh, as Polykleitos recommended. | publisher = The [[Louvre]] | location = Paris | access-date=4 October 2020}}</ref> to the Greek sculptor [[Polykleitos]] (fifth century BCE) and has long been used by artists to establish the proportions of the human figure. [[Ancient Egyptian art]] used a [[Artistic canons of body proportions|canon of proportion]] based on the "fist", measured across the knuckles, with 18 fists from the ground to the hairline on the forehead.<ref name="Smith&Stevenson" />  This canon was already established by the [[Narmer Palette]] from about the 31st century BC, and remained in use until at least the conquest by [[Alexander the Great]] some 3,000 years later.<ref name="Smith&Stevenson">{{cite book|last1=Smith |first1= W. Stevenson |last2=Simpson |first2= William Kelly | title= The Art and Architecture of Ancient Egypt |pages =12–13, note 17 | edition= 3rd | year= 1998 |publisher= Yale University Press | series= Penguin/Yale History of Art | isbn= 0-300-07747-5}}</ref>

One version of the proportions used in modern figure drawing is:<ref>{{cite web |url=https://www.makingcomics.com/2014/01/19/standard-proportions-human-body/ | title = Standard proportions of the human body | website= makingcomics.com| last = Larsen |first= Devin | date=January 19, 2014 | access-date= September 6, 2020}}</ref>
* An average person is generally 7-and-a-half heads tall (including the head).
* An ideal figure, used when aiming for an impression of nobility or grace, is drawn at 8 heads tall.
* A [[hero]]ic figure, used in the depiction of [[gods]] and [[superhero]]es, is eight-and-a-half heads tall.  Most of the additional length comes from a bigger chest and longer legs.

===Measurements===
{{main|Anthropometry|Outline of human anatomy}}
There are a number of important distances between reference points that an artist may measure and will observe:<ref name=Lanteri>{{cite book | url= https://archive.org/details/modellingguidefo00lant/page/100/mode/2up | title= Modelling; a guide for teachers and students | pages=100–111 | last = Lantéri |first= Édouard | author-link = Édouard Lantéri | date=1903 | publisher = Chapman and Hall| location= London}}</ref> These are the distance from floor to the [[patella]];{{efn|knee-cap}} from the patella to the front [[iliac crest]];{{efn|pelvic bones on either side of stomach}} the distance across the stomach between the iliac crests; the distances (which may differ according to pose) from the iliac crests to the [[suprasternal notch]] between the [[clavicle]]s;{{efn|collar bones}} and the distance from the notch to the bases of the ears (which again may differ according to the pose).

Some teachers deprecate mechanistic measurements and strongly advise the artist to learn to estimate proportion by eye alone.<ref>{{cite book |last= Ryder|first= Anthony | title = The Artist's Complete Guide to Figure Drawing | chapter = Using measurement | pages = 53 to 65 |chapter-url=https://archive.org/stream/gottfriedbammesdernacktemensch_201911/Anthony%20Ryder%20-%20The%20Artist%27s%20Complete%20Guide%20to%20Figure%20Drawing.%20A%20Contemporary%20Perspective%20On%20the%20Classical%20Tradition#page/n53/mode/2up | year=2000 | publisher = Watson-Gupthill | location = New York | isbn= 0-8230-0303-5}}</ref>
{{blockquote| It is in drawing from the life that a canon is likely to be a hindrance to the artist; but it is not the method of Indian art to work from the model. Almost the whole philosophy of Indian art is summed up in the verse of Śukrācārya's ''Śukranĩtisāra'' which enjoins meditations upon the imager: "In order that the form of an image may be brought fully and clearly before the mind, the imager should medi[t]ate; and his success will be proportionate to his meditation. No other way{{mdash}}not indeed seeing the object itself{{mdash}}will achieve his purpose." The canon then, is of use as a rule of thumb, relieving him of some part of the technical difficulties, leaving him free to concentrate his thought more singly on the message or burden of his work. It is only in this way that it must have been used in periods of great achievement, or by great artists. |source=   [[Ananda K. Coomaraswamy]], ''The Transformation of Nature in Art''<ref>{{cite book |chapter =Aesthetic of The Śukranĩtisāra |title=The Transformation of Nature in Art |location = Cambridge, Mass. | publisher= Harvard University Press | year= 1934| pages= 111–117 | first= Ananda |last=Coomaraswamy}} cited in {{cite journal | last1= Mosteller | first1= John F. | title= The Study of Indian Iconometry in Historical Perspective. |journal = Journal of the American Oriental Society |volume= 108 |number= 1 | year= 1988|pages= 99–110 | doi= 10.2307/603249 | jstor= 603249 }}</ref>}}

===Ratios===
{{further|Artistic canons of body proportions}}
{{blockquote|[Proportion] should not be confused with a ratio, involving two magnitudes. Modern usage tends to substitute "proportion" for a comparison involving two magnitudes (e.g., length and width), and hence mistakes a mere grouping of simple ratios for a complete proportion system, often with a linear basis at odds with the [[Polykleitos#The Canon of Polykleitos and "symmetria"|areal approach of Greek geometry]]| source = Richard Tobin, ''The Canon of Polykleitos'', 1975.<ref name="Tobin75"/>}}
Many text books of artistic anatomy advise that the head height be used as a [[wikt:yardstick|yardstick]] for other lengths in the body: their ratios to it provide a consistent and credible structure.<ref name=ACGfA>{{cite book | chapter-url=https://archive.org/details/Anatomy-A_Complete_Guide_for_Artists_Joseph_Sheppard/page/8/mode/2up | title= Anatomy A Complete Guide for Artists | chapter = Proportion | pages= 7 to 13 | last=Sheppard |first= Joseph | year=1975 | publisher = Watson-Gupthill | location = New York | isbn= 0-8230-0218-7}}</ref> Although the average person is 7{{frac|1|2}} heads tall, the custom in [[Classical Greece]] (since [[Lysippos]]) and [[Renaissance]] art was to set the figure as eight heads tall: "the eight-heads-length figure seems by far the best; it gives dignity to the figure and also seems to be the most convenient."<ref name=ACGfA /> The half-way mark is a line between the [[greater trochanter]]s,{{efn|outer hip bones}} just above the [[pubic arch]].<ref name=ACGfA />
* the ratio of hip circumference to shoulder circumference varies by biological sex: the average ratio for women is 1:1.03, for men it is 1:1.18.<ref>{{cite journal |last1=Hughes |first1=S. M. |last2=Gallup |first2=G. G. Jr. |date=2003 |title=Sex differences in morphological predictors of sexual behavior: Shoulder to hip and waist to hip ratios. |journal=Evolution and Human Behavior |volume=24 |pages=173–178 |doi=10.1016/S1090-5138(02)00149-6 |quote=Male SHRs (M=1.18±0.071, range 1.03–1.40) significantly (t=10.41, P<.01) exceeded female SHRs (M=1.03±0.066, range 0.90–1.22). Here and subsequently, M signifies mean±standard deviation.}} (These are head-on lateral widths, not circumferences.)</ref>
* legs (floor to [[crotch]], which are typically three-and-a-half to four heads long; arms about three heads long; hands are as long as the face.<ref name=dfa>{{cite web| url= https://www.drawingforall.net/human-body-proportions/ | title= Human Body Proportions |last = Ayvazyan |first= Stepan | website= drawingforall.net | access-date= 12 September 2020}}</ref>
* {{anchor|Leg-to-body ratio}}'''Leg-to-body ratio''' is seen as indicator of [[physical attractiveness]] but there appears to be no accepted definition of leg-length: the 'perineum to floor' measure{{efn|The '''sitting body ratio''' (SBR) is also quoted, where the trunk is measured with subject sitting on a flat chair or table, and the leg-length determined by subtracting table height from standing height.<ref>{{cite web | url = https://www.sportsrec.com/measure-legtobody-ratio-8161662.html | title = How to Measure Leg-to-Body Ratio | last= Chrysanthou |first= Andrea | date=27 July 2017 | access-date= 30 September 2020 | website= Sportsrec.com}}</ref> This is almost the same as distance from the perineum but without the need to touch an intimate area.}} is the most used but arguably the distance from ankle bone to outer hip bone is more rigorous.<ref name=Versluys>{{cite journal |title= The influence of leg-to-body ratio, arm-to-body ratio and intra-limb ratio on male human attractiveness | last1= Versluys |first1= Thomas M. M. |first2= Robert A. |last2=Foley |first3= William J. |last3=Skylark |journal= Royal Society Open Science | publisher= [[The Royal Society]] Publishing | date=16 May 2018|volume= 5 |issue= 5 |page= 171790 |doi= 10.1098/rsos.171790 |pmid= 29892373 | pmc= 5990728 | bibcode= 2018RSOS....571790V |s2cid= 47018307 }}</ref> On this (latter) metric, the most attractive ratio of leg to body for men (as seen by American women) is 1:1,<ref name=Versluys /> matching the {{not a typo|'four heads:four heads'}} ratio above. A Japanese study using the former metric found the same result for male attractiveness but women with longer legs than body were judged to be more attractive.<ref name=Kiire>{{cite journal |last = Kiire |first=S. |title= Effect of Leg-to-Body Ratio on Body Shape Attractiveness |  journal = Archives of Sexual Behavior | volume=45 | pages = 901–910 | year =2016 |issue= 4 |doi= 10.1007/s10508-015-0635-9 |pmid= 26474977 |s2cid= 40574546 }}</ref> Excessive deviations from the mean were seen as indicative of disease.<ref name=Kiire /> "High class fashion journals depict women with an extreme length of limb, and decorative art does the same for both men and women [...]. When the artist wishes to depict the lower orders, as such, or the comic, he draws people with exaggeratedly short limbs and makes them fat."<ref>{{cite journal| title= Growth and health | last= Leitch |first= I. |year =1951 |journal= British Journal of Nutrition | volume= 5 | issue= 1 | pages= 142–51 | doi= 10.1079/BJN19510017 | pmid= 14886531 | doi-access= free }}</ref>
* [[Waist-to-height ratio]]: the average ratio for US college competitive swimmers is 0.424 (women) and 0.428 (men); the ratios for a (US) normally healthy man or woman is 0.46{{ndash}}0.53 and 0.45{{ndash}}0.49 respectively; the ratio ranges beyond 0.63 for morbidly obese individuals.<ref>{{cite journal | url= https://academic.oup.com/milmed/article/182/suppl_1/304/4209360 | journal = Military Medicine | volume=182 | first1= Stephen A. |last1=Bernstein | first2= Michael |last2=Lo | first3= W. Sumner |last3=Davis | title=Proposing Using Waist-to-Height Ratio as the Initial Metric for Body Fat Assessment Standards in the U.S. Army | date = 1 March 2017 | pages = 304–309 | doi = 10.7205/MILMED-D-16-00049 | pmid = 28291490 | access-date=10 September 2020}}</ref>
*[[Waist–hip ratio]]: artist's conception of the ideal waist{{ndash}}hip ratio has varied down the ages, but for female figures "over the 2,500-year period the average WHR never exited 'the fertile range' (from 0.67 to 0.80)."<ref name=NYT0150527>{{cite journal | first1=Jeanne |last1=Bovet |first2=Michel |last2=Raymond | title=Preferred Women's Waist-to-Hip Ratio Variation over the Last 2,500 Years | journal=PLOS ONE |date=17 April 2015 |volume=10 |issue=4 |pages=e0123284 |doi=10.1371/journal.pone.0123284| pmid= 25886537|pmc=4401783 |bibcode=2015PLoSO..1023284B |doi-access=free }} cited in {{cite news | title= Gleaning New Perspectives by Measuring Body Proportions in Art |url=https://www.nytimes.com/2015/05/28/arts/international/gleaning-new-perspectives-by-measuring-body-proportions-in-art.html | work = The New York Times | last = Heyman |first= Stephen | date = May 27, 2015 | access-date= 10 September 2020 |archive-url=https://web.archive.org/web/20211101074022/https://www.nytimes.com/2015/05/28/arts/international/gleaning-new-perspectives-by-measuring-body-proportions-in-art.html |archive-date=1 November 2021}}</ref> The ''[[Venus de Milo]]'' (130{{ndash}}100{{nbsp}}BCE) has a WHR of 0.76;<ref name=NYT0150527 /> in [[Anthony van Dyck]]'s [[commons:File:Anthony van Dyck - Venus Asks Vulcan to Cast Arms for her Son Aeneas - WGA07447.jpg|''Venus Asks Vulcan to Cast Arms for Her Son Aeneas'']] (1630), Venus's estimated WHR is 0.8;<ref name=NYT0150527 /> and [[Jean-Léon Gérôme]]'s [[commons:file:Gerome venus.jpg|''Birth of Venus'']] (1890) has an estimated WHR of 0.66.<ref name=NYT0150527 />

==Body proportions in history==
[[File:Venus de Brassempouy.jpg|thumb|upright=0.5|Venus of Brassempouy, about 25,000 years ago]]
The earliest known representations of female figures date from 23,000 to 25,000 years ago.<ref name=Dixson>{{cite journal |last1=Dixson |first1=Alan F. | first2= Barnaby J. |last2=Dixson | title = Venus Figurines of the European Paleolithic: Symbols of Fertility or Attractiveness?| journal =Journal of Anthropology |volume= 2011 | year = 2011 | pages= 1–11 | doi= 10.1155/2011/569120 | doi-access= free }}</ref> Models of the human head (such as the [[Venus of Brassempouy]]) are rare in [[Paleolithic art]]: most are like the [[Venus of Willendorf]]{{snd}} bodies with vestigial head and limbs, noted for their very high waist:hip ratio of 1:1 or more.<ref name=Dixson /> It may be that the artists' "depictions of corpulent, middle-aged females were not 'Venuses' in any conventional sense. They may, instead, have symbolized the hope for survival and longevity, within well-nourished and reproductively successful communities."<ref name=Dixson />

The ancient Greek sculptor [[Polykleitos]] (c.450–420 BCE), known for his ideally proportioned bronze ''[[Doryphoros]]'', wrote an influential [[Polykleitos#Canon of Polykleitos|''Canon'']] (now lost) describing the proportions to be followed in sculpture.<ref name=Stewart>{{cite journal |last1=Stewart |first1=Andrew |title=Polykleitos of Argos," One Hundred Greek Sculptors: Their Careers and Extant Works |journal=Journal of Hellenic Studies |date=November 1978 |volume=98 |pages=122–131 |doi=10.2307/630196|jstor=630196 |s2cid=162410725 }}</ref>  The ''Canon'' applies the basic mathematical concepts of Greek geometry, such as the ratio, proportion, and ''symmetria'' (Greek for "harmonious proportions") creating a system capable of describing the human form through a series of continuous [[geometric series|geometric progressions]].<ref name=Anneberg>{{cite web |url=https://www.learner.org/series/art-through-time-a-global-view/the-body/doryphoros-canon/ | title = Art: Doryphoros (Canon) | series = Art Through Time: A Global View | publisher= [[Annenberg Learner]] | access-date=16 September 2020|quote=Though we do not know the exact details of Polykleitos's formula, the end result, as manifested in the Doryphoros, was the perfect expression of what the Greeks called ''symmetria''}}</ref> Polykleitos may have used the [[distal phalanges|distal phalanx]] of the [[little finger]] as the basic module for determining the proportions of the human body, scaling this length up repeatedly by {{radic|2}} to obtain the ideal size of the other phalanges, the hand, forearm, and upper arm in turn.<ref name=Tobin>{{cite journal| last=Tobin |first=Richard | title=The ''Canon'' of Polykleitos | journal=American Journal of Archaeology | volume=79 | issue=4 | date=October 1975 | pages=307–321 | doi=10.2307/503064| jstor=503064 | s2cid=191362470 }}</ref>

[[Leonardo da Vinci]] believed that the ideal human proportions were determined by the harmonious proportions that he believed governed the universe, such that the ideal man would fit cleanly into a circle as depicted in his famed drawing of ''[[Vitruvian Man]]'' (c. 1492),<ref name="DaVinci">{{cite web| title= Universal Leonardo: Leonardo Da Vinci Online Essays|date= 22 April 2010|  url= http://www.universalleonardo.org/essays.php?id=563}}</ref> as described in [[De architectura|a book by Vitruvius]]. [[Vitruvian Man#Translation of the text|Leonardo's commentary]] is about relative body proportions{{snd}} with comparisons of hand, foot, and other feature's lengths to other body parts{{snd}} more than to actual measurements.<ref>{{Cite book|title=The Notebooks of Leonardo da Vinci|url=https://archive.org/details/notebooksofleona01leon|url-access=registration|last=Richter|first=Jean Paul|publisher=Dover|year=1970|isbn=978-0-486-22572-2|edition=Reprint of original 1883|location=New York}}</ref>
{{clear}}

[[File:Da Vinci Vitruve Luc Viatour.jpg|thumb|upright=0.5|The ''[[Vitruvian Man]]'' drawing]]

==Golden ratio==
{{further|Mathematics and art|List of works designed with the golden ratio}}
It has been suggested that the ideal human figure has its [[navel]] at the [[golden ratio]] (<math>\phi</math>, about 1.618), dividing the body in the ratio of 0.618 to 0.382 (soles of feet to navel:navel to top of head) ({{frac|1|<math>\phi</math>}} is {{nowrap|<math>\phi</math>-1}}, about 0.618) and Leonardo da Vinci's Vitruvian Man is cited as evidence.<ref name=Simanek>{{cite web |title = Fibonacci Flim-Flam | last= Simanek |first=Donald E. |publisher= Lock Haven University of Pennsylvania |url=https://www.lockhaven.edu/~dsimanek/pseudo/fibonacc.htm | date= December 2015 | access-date= 13 September 2020 | website= Lockehaven.edu}}</ref> In reality, the navel of the Vitruvian Man divides the figure at 0.604 and nothing in the accompanying text mentions the golden ratio.<ref name=Simanek />

In his [[Canon of Polykleitos#Conjectured reconstruction|conjectural reconstruction of the Canon of Polykleitos]], art historian Richard Tobin determined {{radic|2}} (about 1.4142) to be the important ratio between elements that the classical Greek sculptor had used.<ref name=Tobin75>{{cite journal | last= Tobin| first= Richard | title= The Canon of Polykleitos | journal= American Journal of Archaeology |volume= 79 | number= 4 | year= 1975 |pages = 307{{ndash}}321 | doi= 10.2307/503064 | jstor= 503064 | s2cid= 191362470 }}</ref>

==Additional images==
<gallery>
File:Fatanef333.jpg|Proportions of a human male face
File:Braus 1921 2a.png|a 1½-year-old child
File:Braus 1921 2b.png|an adult man
File:Drawing of proportions of the male and female figure, 1936.jpg|Drawings by Avard T. Fairbanks developed during his teaching career. This image was used in Eugene F. Fairbanks' book on ''Human Proportions for Artists''.<ref>{{Cite book|url=http://www.fairbanksartbooks.com/Proportions.html|title=Human Proportions for Artists|last=Fairbanks|first=Eugene F.|publisher=Fairbanks Art and Books|year=2011|isbn=978-1-4679-0187-1|location=Bellingham, WA}}</ref>
File:Male Head proportions.jpg|Avard Fairbanks drawing of proportions of the male head and neck, 1936
File:Female Head proportions.jpg|Avard Fairbanks drawing of proportions of the female head and neck, 1936
File:Two-year-old child head proportions.jpg|Growth and proportions of children, one illustration from Children's Proportions for Artists
</gallery>

== Bibliography ==
* [[Gottfried Bammes]]: ''Studien zur Gestalt des Menschen.'' Verlag Otto Maier GmbH, Ravensburg 1990, {{ISBN|3-473-48341-9}}.
* [[Édouard Lantéri]]: {{cite book|url=https://archive.org/details/modellingguidefo01lantuoft/page/n7/mode/2up |title=Modelling: a guide for teachers and students | location = London | year = 1902 | publisher = Chapman & Hall Ltd}}
* {{cite book |last=Fairbanks |first=Eugene F. |author-link = Avard T. Fairbanks |title=Children's Proportions for Artists |date=2012 |publisher=Fairbanks Art and Books |location=Bellingham, WA |isbn=978-0-9725841-2-8 |url=http://www.fairbanksartbooks.com/ChildProportions.html}}

==See also==
* {{annotated link|Allometry}}
* {{annotated link|Anthropometry}}
* {{annotated link|Arm span}}
* {{annotated link|Body shape}}
** {{annotated link|Female body shape}}
** {{annotated link|Male body shape}}
* {{annotated link|Nude (art)}}
* {{annotated link|Physical attractiveness}}

==Notes==
{{notelist}}

==References==
{{Reflist}}

==Further reading==
{{commons category|Body proportions}}
* {{Cite journal 
| last1 = Deriabin | first1 = V. E. 
| title = Age-related changes in human body proportions studied by the method of principal components 
| journal = Nauchnye Doklady Vysshei Shkoly. Biologicheskie Nauki 
| issue = 1 
| pages = 50–55 
| year = 1987 
| pmid = 3828410
}}
* {{Cite journal
 | pmid = 20617018
| pmc = 2872302
| year = 2010
| last1 = Bogin
| first1 = B
| title = Leg length, body proportion, and health: A review with a note on beauty
| journal = International Journal of Environmental Research and Public Health
| volume = 7
| issue = 3
| pages = 1047–75
| last2 = Varela-Silva
| first2 = M. I.
| doi = 10.3390/ijerph7031047
| doi-access = free
}}

* {{cite journal|last=Alley|first=Thomas R.
|title=Growth-Produced Changes in Body Shape and Size as Determinants of Perceived Age and Adult Caregiving|journal=Child Development|volume=54|issue=1|date=Feb 1983|pages=241–248|doi=10.2307/1129882|jstor=1129882}}
* {{cite journal|pmid=2385485|doi=10.3758/BF03207078|title=Body proportions as information for age and cuteness: Animals in illustrated children's books|year=1990|last1=Pittenger|first1=John B.|journal=Perception & Psychophysics|volume=48|issue=2|pages=124–30|s2cid=27929821|doi-access=free}}

==External links==
* [http://www.spirxpert.com/collegeUK/e.htm Changing body proportions during growth] {{Webarchive|url=https://web.archive.org/web/20170327224025/http://spirxpert.com/collegeUK/e.htm |date=2017-03-27 }}
* {{cite web| url= https://bodyvisualizer.com/ | title= Body visualizer | publisher = MPI IS Perceiving Systems Department, [[Max Planck Institute]] | year=2011 | access-date= 23 September 2020}}
* {{cite magazine |title=Why Comic Book Heroes Are Sexy |magazine=Psychology Today |first=Glenn |last=Geher | date=April 19, 2019 |url=https://www.psychologytoday.com/gb/blog/darwins-subterranean-world/201904/why-comic-book-heroes-are-sexy}}

{{Mathematical art}}

{{DEFAULTSORT:Body Proportions}}
[[Category:Anatomy]]
[[Category:Artistic techniques]]
[[Category:Human body]]