We can continue the analysis of both versions of Leonardo Da Vinci’s ‘Virgin of the Rocks’ by looking at the way the ϕ subdivisions frame the principal figures and also how the mirrored ϕ spirals converge on John the Baptist and the Christ child. Figure 1
![](https://howartworks.com/wp-content/uploads/2019/12/Madonna-of-the-Rocks-w-Under-Drawing-Sweeps-1024x814.jpg)
In figure 2 we can see the parallel subdivisions of both the primary diagonals and reciprocals. If you recall this post, the proportional ϕ relationships show that AB:BC = BC:CA = AC:CD in the Louvre version and that AB:BC = BC:CA = AE:EC = CF:FD. Do you see any alignments?
![](https://howartworks.com/wp-content/uploads/2019/12/Madonna-of-the-Rocks-Plate-8-1024x813.jpg)
Finally, there’s the curious folds in the Madonna’s sash as seen in the London Version. Is it possible Da Vinci hid a ϕ diagram in the painting? Figure 3
![](https://howartworks.com/wp-content/uploads/2019/12/Madonna-of-the-Rocks-Phi-Phun-Detail-1024x643.jpg)