Leonardo da Vinci’s secret compositional diagram
The Polaris Diagram is a geometric scheme. I believe Leonardo da Vinci used it in the composition of all his paintings. It is based on a square and on the golden ratio. An important part of the scheme is a pentagram, a five-pointed star. The rules of paintings composition are always jealously concealed by the painters. Leonardo da Vinci did the same. These compositional principles are usually revealed through an analysis of the paintings. However, the Polaris Diagram and the principles of composition with the Diagram are substantially different from the common methods of composition. That is precisely the reason why these analyses did not yield expected results.
The Polaris Diagram is my discovery based on the result of the analyses of Leonardo’s paintings and is not based on any previous similar discovery. Nowhere in Leonardo’s drawings, with the exception of one, did I find any similarities with the Diagram. That is why it is difficult to claim that Polaris looks precisely like this. But, I believe that the claims about the principles of construction of the Diagram are easily demonstrable from Leonardo’s paintings and drawings. It justifies the claim on the existence of the Diagram. This view is supported by several of Leonardo’s enigmatic texts which can be, on the presumption of their connectedness with the Diagram, easily interpreted. The Polaris Diagram is also noticeable in the works of a number of other painters. Some of those who seemed to apply the Diagram include Andrei Rublev (1360-1430), Paolo Uccello (1397-1475), Piero della Francesca (1412-1492) and Albrecht Düerer (1471-1528).
It is possible to find similarities with the appearance and use of the Polaris Diagram in the works of Jay Hambidge, Frederik Macody Lund, Ernst Moessel and Matila Ghyka. This fact as well as the complete lack of influence of these works on the discovery of the Diagram I consider an additional verification of the correctness of my claim on the existence of the Polaris Diagram.
An essential factor which undoubtedly facilitated the discovery of the Diagram is the consistency and precision with which Leonardo executed his paintings. Such precision also facilitates the interpretation of his paintings, but only with the application of the Diagram. It can be said that a deeper insight into Leonardo’s paintings is not possible without the Polaris Diagram.
The original name used by Leonardo da Vinci for this diagram is unknown. There are, however, a number of his drawings and a few sentences on them which relate to the orientation toward the North Star or Polaris. That is actually why I thought it appropriate to name the Diagram Polaris, although the Diagram is not Leonardo’s invention.
The discovery of number 56 in the painting of Mona Lisa is confirmed by the Polaris Diagram. Without such a confirmation it would be difficult to be so convinced in the claims presented here. There are at least two presentations of number 56 in the painting owing to the Diagram. For the presentations through the means of the Diagram it is necessary to use geometry. Considering my intention to make this text as simple as possible, explanations of number 56 on the basis of the Diagram have been left out.