Radial distribution of figures in Leonardo's and Renaissance paintings. (March 2021)

• Record Type: Journal Article
• Authors: Zilberstein, Gleb; Zilberstein, Roman; Zilberstein, Svetlana; Righetti, Pier Giorgio
• Is Part Of: Digital applications in archaeology and cultural heritage. Number 20(2021)
• Publication Date: 2021-03
• Subjects: Leonardo -- Botticelli -- Raffaello -- Madonna Litta -- Madonna Benois -- Madonna del Libro -- Madonna della Seggiola; Archaeology -- Methodology -- Periodicals; Cultural property -- Protection -- Periodicals; 930.1
• DOI: 10.1016/j.daach.2021.e00178
• Languages: English
• ISSNs: 2212-0548

Abstract

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. Graphical abstract: Image 1 Highlights: A novel software for assessing radial distribution of figures in paintings. Measurements of radial figure arrangements via renaissance templates. Demonstration that no radial distribution exists in any byzantine icons and art work. Leonardo, Botticelli and Raffaello subliminal messages to viewers of their masterpieces.