Radial distribution of figures in Leonardo’s and Renaissance paintings

Abstract

Via a dedicated software program it has been possible to overlap circular drawings (such as the Academia Leonardo da Vinci woodcut and the Islamic Samsha sun-symbol) with paintings by Leonardo (Madonna Litta, Madonna Benois) and by Botticelli (Madonna del Libro). These paintings show a radial distribution of the figures of Madonna and Child, with the Child’s head embracing an inner circle that then expands to encompass the Madonna’s head as well. This radial distribution of figures imparts to these paintings a unique harmony and radiance that is absent in the Byzantine icons representing the same subjects over the centuries, from about the third century AC till the fall of Byzantium (Constantinopolis). Interestingly, the Madonna and Child (Tempi Madonna) by Raffaello at the Alte Pinakothek, although painted in 1508, does not follow this rule. However his masterpiece Madonna della Seggiola, 1513–1514, shows the same radial distribution as found in Leonardo’s paintings, suggesting that Raffaello had studied the works of the Maestro and appreciated this peculiar disposition of the heads of the two figures.