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
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?
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