The Vitruvian Man

The Vitruvian Man was created by Leonardo da Vinci around the year 1487. It is accompanied by notes based on the work of the famed
architect, Vitruvius Pollio. The drawing, which is in pen and ink on paper, depicts a male figure in two superimposed positions with his
arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of
Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell'Accademia in Venice, Italy, and, like most works on paper, is
displayed only occasionally.
The proportinal relationship of the parts reflects universal design. And a "medical" equilibrium of elements ensures a stable structure.
These qualities are thus shared equally by God's creation of the human body and the human being's own production of a good building. In
the late 1480s, this theme of the artistic microcosm emerged as one of the freat unifying principles of his thought. This architectural
applicaiton is not the end of the matter, however; it only represents the beginning of a concepts which had a literally universal application.

This image provides the perfect example of Leonardo's keen interest in proportion. In addition, this picture represents a cornerstone of
Leonardo's attempts to relate man to nature. Encyclopaedia Britannica online states, "Leonardo envisaged the great picture chart of the
human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of
the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe."

Leonardo da Vinci's drawing of Vitruvian Man is one of the most popular world icons. There have been countless attempts over the years
to understand the composition of Leonardo's illustration of Vitruvius' principles.

Mathematical Patttern/ The Golden Ratio/Divine Proportion

In art, the golden ratio is a well-known concept in mathematics. It is a special number that has been around since the time of the Egyptians
and the Greeks. It is special as it is an irrational number. Known as Phi, the golden ration has a value that is about 1.618. Over the years
the golden ratio has been known by many names – the Golden mean, the Golden section and the divine proportion amongst many others.
As well as appearing in nature and science, the Golden ration also appears in art. Its connection with art comes at the end of the 1400’s
from Leonardo Da Vinci and a Franciscan friar named Lucca Pacioli.
Pacioli was a mathematician who wrote the book ‘De divina proportione’ (Divine Proportion). The text discusses the idea of perspective
as well as architecture’s use of mathematics. It also discusses what the ancient Greeks considered to be the five perfect solids. The friar
was a friend of many of the artists of the time. One of those was Leonardo Da Vinci. Having trained as a painter, Da Vinci worked with
Pacioli to illustrate the book. Leonardo Da Vinci supplied around sixty drawings for the book. Some of these included geometric shapes to
illustrate mathematical concepts.
https://www.leonardodavinci.net/the-vitruvian-man.jsp
http://www.leonardo-da-vinci.net/mathematics/
 Mona Lisa

Mona Lisa, also known as La Gioconda, is the wife of Francesco del Giocondo. This painting is painted as oil on wood. The original
painting size is 77 x 53 cm (30 x 20 7/8 in) and is owned by by the Government of France and is on the wall in the Louvre in Paris,
France.
This figure of a woman, dressed in the Florentine fashion of her day and seated in a visionary, mountainous landscape, is a remarkable
instance of Leonardo's sfumato technique of soft, heavily shaded modeling. The Mona Lisa's enigmatic expression, which seems both
alluring and aloof, has given the portrait universal fame.

The Mona Lisa's famous smile represents the sitter in the same way that the juniper branches represent Ginevra Benci and the ermine
represents Cecilia Gallerani in their portraits, in Washington and Krakow respectively. It is a visual representation of the idea of happiness
suggested by the word "gioconda" in Italian. Leonardo made this notion of happiness the central motif of the portrait: it is this notion
which makes the work such an ideal. The nature of the landscape also plays a role. The middle distance, on the same level as the sitter's
chest, is in warm colors. Men live in this space: there is a winding road and a bridge. This space represents the transition between the
space of the sitter and the far distance, where the landscape becomes a wild and uninhabited space of rocks and water which stretches to
the horizon, which Leonardo has cleverly drawn at the level of the sitter's eyes.

The painting was among the first portraits to depict the sitter before an imaginary landscape and Leonardo was one of the first painters to
use aerial perspective. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side.
Behind her a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human
presence. The sensuous curves of the woman's hair and clothing, created through sfumato, are echoed in the undulating imaginary valleys
and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feeling of calm are
characteristic of da Vinci's style. Due to the expressive synthesis that da Vinci achieved between sitter and landscape it is arguable whether
Mona Lisa should be considered as a traditional portrait, for it represents an ideal rather than a real woman. The sense of overall harmony
achieved in the painting especially apparent in the sitter's faint smile reflects the idea of a link connecting humanity and nature.

In the Renaissance which brought together all human activities, art meant science, art meant truth to life: Leonardo da Vinci was a great
figure because he embodied the epic endeavour of Italian art to conquer universal values: he who combined within himself the fluctuating
sensitivity of the artist and the deep wisdom of the scientist, he, the poet and the master.

In his Mona Lisa, the individual, a sort of miraculous creation of nature, represents at the same time the species: the portrait goes beyond
its social limitations and acquires a universal meaning. Although Leonardo worked on this picture as a scholar and thinker, not only as a
painter and poet, the scientific and philosophical aspects of his research inspired no following. But the formal aspect - the new
presentation, the nobler attitude and the increased dignity of the model - had a decisive influence over Florentine portraits of the next
twenty years, over the classical portrait. With his Mona Lisa, Leonardo created a new formula, at the same time more monumental and
more lively, more concrete and yet more poetic than that of his predecessors. Before him, portraits had lacked mystery; artists only
represented outward appearances without any soul, or, if they showed the soul, they tried to express it through gestures, symbolic objects
or inscriptions. The Mona Lisa alone is a living enigma: the soul is there, but inaccessible.

Mathematical Pattern/Pattern
One very famous piece, known as the Mona Lisa, painted by Leonardo Da Vinci, is drawn according to the golden ratio. The golden ratio
is 1:0.618 and has been coined golden because it is said to be aesthetically pleasing. The golden proportion can be found throughout the
human body. A golden rectangle is simply a rectangle with dimensions that reflect the golden ratio. The Mona Lisa has many golden
rectangles throughout the painting. By drawing a rectangle around her face, we can see that it is indeed golden. If we divide that
rectangle with a line drawn across her eyes, we get another golden rectangle, meaning that the proportion of her head length to her eyes is
golden.

Leonardo da Vinici, no that's not a typo, is well known for his usage of the Fibonacci Sequence. One notable example is his most famous
work, The Mona Lisa. Da Vinci utilized the sequence with the Golden Spiral, which stems from the Perfect Rectangle. The Perfect
Rectangle is formed by creating rectangles within the corresponding dimensions of 1.618, from each descending Fibonacci Number (8, 5,
3, 2, 1, etc.) The spiral comes from touching each side in the Perfect Rectangle. The Golden Spiral can best be seen in the shell of a
Nautilus.

So how exactly did Leonardo da Vinci go about utilizing the Golden Spiral? First, he uses it to frame the woman in the painting. The spiral
begins at her left wrist then travels to the background of the image, which contrasts the beauty of her face. It then skims over her forehead
and continues turning until it kisses her chin. It rises, going past the slight of her dimple. Lastly, it completes one rotation which ends at
the tip of her nose.

When making eye contact with someone, the ideal place to look is actually their nose, as it centers the face. And with the Mona Lisa, once
ease your focus, you immediately notice the eyes. Her most remarkable feature that follows you everywhere you go...

https://www.leonardodavinci.net/the-mona-lisa.jsp
http://monalisa.org/2012/09/12/leonardo-and-mathematics-in-his-paintings/
https://thefibonaccisequence.weebly.com/mona-lisa.html
 The Last Supper

In 1495, Leonardo da Vinci began what would become one of history's most influential works of art - The Last Supper

The Last Supper is Leonardo's visual interpretation of an event chronicled in all four of the Gospels (books in the Christian New
Testament). The evening before Christ was betrayed by one of his disciples, he gathered them together to eat, tell them he knew what was
coming and wash their feet (a gesture symbolizing that all were equal under the eyes of the Lord). As they ate and drank together, Christ
gave the disciples explicit instructions on how to eat and drink in the future, in remembrance of him. It was the first celebration of the
Eucharist, a ritual still performed.

Specifically, The Last Supper depicts the next few seconds in this story after Christ dropped the bomb shell that one disciple would betray
him before sunrise, and all twelve have reacted to the news with different degrees of horror, anger and shock.

Leonardo hadn't worked on such a large painting and had no experience in the standard mural medium of fresco. The painting was made
using experimental pigments directly on the dry plaster wall and unlike frescos, where the pigments are mixed with the wet plaster, it has
not stood the test of time well. Even before it was finished there were problems with the paint flaking from the wall and Leonardo had to
repair it. Over the years it has crumbled, been vandalized bombed and restored. Today we are probably looking at very little of the
original.

Much of the recent interest in the painting has centred on the details hidden within the painting, but in directing attention to these 'hidden'
details, most people miss the incredible sense of perspective the work displays. The sharp angling of the walls within the picture, which
lead back to the seemingly distant back wall of the room and the windows that show the hills and sky beyond. The type of day shown
through these windows adds to the feeling of serenity that rests in the centre of the piece, around the figure of Christ.

Mathematical involved/Pattern
Getting even higher, the ratio of 144 to 233 is 1.618. These numbers are all successive numbers in the Fibonacci sequence. ... Da Vinci
himself used the Golden ratio to define all of the proportions in his Last Supper, including the dimensions of the table and the proportions
of the walls and backgrounds.

https://www.leonardodavinci.net/the-last-supper.jsp
https://www.livescience.com/37704-phi-golden-ratio.html
 Acropolis Parthenon

Directed by the Athenian statesman Pericles, the Parthenon was built by the architects Ictinus and Callicrates under the supervision of the
sculptor Phidias. Work began in 447 BCE, and the building itself was completed by 438. The same year a great gold and ivory statue of
Athena, made by Phidias for the interior, was dedicated. Work on the exterior decoration of the building continued until 432 BCE.

Although the rectangular white marble Parthenon has suffered damage over the centuries, including the loss of most of its sculpture, its
basic structure has remained intact. A colonnade of fluted, baseless columns with square capitals stands on a three-stepped base and
supports an entablature, or roof structure, consisting of a plain architrave, or band of stone; a frieze of alternating triglyphs (vertically
grooved blocks) and metopes (plain blocks with relief sculpture, now partly removed); and, at the east and west ends, a low triangular
pediment, also with relief sculpture (now mostly removed). The colonnade, consisting of 8 columns on the east and west and 17 on the
north and south, encloses a walled interior rectangular chamber, or cella, originally divided into three aisles by two smaller Doric
colonnades closed at the west end just behind the great cult statue. The only light came through the east doorway, except for some that
might have filtered through the marble tiles in the roof and ceiling. Behind the cella, but not originally connected with it, is a smaller,
square chamber entered from the west. The east and west ends of the interior of the building are each faced by a portico of six columns.
Measured by the top step of the base, the building is 101.34 feet (30.89 metres) wide and 228.14 feet (69.54 metres) long.

The Parthenon embodies an extraordinary number of architecttural refinements, which combine to give a plastic, sculptural appearance to
the building. Among them are an upward curvature of the base along the ends and repeated in the entablature; an imperceptible, delicate
convexity (entasis) of the columns as they diminish in diameter toward the top; and a thickening of the four corner columns to counteract
the thinning effect of being seen at certain angles against the sky.

The sculpture decorating the Parthenon rivaled its architecture in careful harmony. The metopes over the outer colonnade were carved in
high relief and represented, on the east, a battle between gods and giants; on the south, Greeks and centaurs; and on the west, probably
Greeks and Amazons. Those on the north are almost all lost. The continuous, low-relief frieze around the top of the cella wall,
representing the annual Panathenaic procession of citizens honouring Athena, culminated on the east end with a priest and priestess of
Athena flanked by two groups of seated gods. The pediment groups, carved in the round, show, on the east, the birth of Athena and, on the
west, her contest with the sea god Poseidon for domination of the region around Athens. The entire work is a marvel of composition and
clarity, which was further enhanced by colour and bronze accessories

The Parthenon remained essentially intact until the 5th century CE, when Phidias’s colossal statue was removed and the temple was
transformed into a Christian church. By the 7th century, certain structural alterations in the inner portion had also been made. The Turks
seized the Acropolis in 1458, and two years later they adopted the Parthenon as a mosque, without material change except for the raising
of a minaret at the southwest corner. During the bombardment of the Acropolis in 1687 by Venetians fighting the Turks, a powder
magazine located in the temple blew up, destroying the centre of the building. In 1801–03 a large part of the sculpture that remained was
removed, with Turkish permission, by the British nobleman Thomas Bruce, Lord Elgin, and sold in 1816 to the British Museum in
London. (See Elgin Marbles.) Other sculptures from the Parthenon are now in the Louvre Museum in Paris, in Copenhagen, and
elsewhere, but many are still in Athens

Mathematical Involved/Pattern
The photo below shows a Golden Rectangles with a Golden Spiral overlay to the entire face of the Parthenon. This illustrates that the
height and width of the Parthenon conform closely to Golden Ratio proportions. This construction requires a assumption though, that the
bottom of the golden rectangle should align with the bottom of the second step into the structure and that the top should align with a peak
of the roof that is projected by the remaining sections. Given that assumption, the top of the columns and base of the roof line are in a
close golden ratio proportion to the height of the Parthenon. This demonstrates that the Parthenon has golden ratio proportions, but
because of the assumptions is probably not strong enough evidence to demonstrate that the ancient Greeks used it intentionally in its
overall design, particularly given the exacting precision found in many aspects of its overall design.
 Height of the columns – The structural beam on top of the columns is in a golden ratio proportion to the height of the columns.
Note that each of the grid lines is a golden ratio proportion of the one below it, so the third golden ratio grid line from the bottom
to the top at the base of the support beam represents a length that is phi cubed, 0.236, from the top of the beam to the base of the
column.
 Dividing line of the root support beam – The structural beam on top of the columns has a horizontal dividing line that is in
golden ratio proportion to the height of the support beam.
 Width of the columns – The width of the columns is in a golden ratio proportion formed by the distance from the center line of
the columns to the outside of the columns.

A magnified of the above photo view reveals that each of these golden ratio proportions is very close to perfect, but perhaps not as exact
as one might hope, particularly given the preciseness of the design and construction of the Parthenon. Click on the thumbnail image
below to see this in more detail. Are the small variations from perfect golden ratio proportions just a result of angular distortions in the
photo or evidence that the golden ratio wasn’t actually used? A more precise means of measure is required.

If you examine all dimensions of the Parthenon, you’ll find a variety of numbers and proportions. A floor plan view shows eight columns
across the front view and seventeen columns from the side view. Six columns are the inside entry way, with five by ten columns enclosing
the large interior temple room. Several interior rooms are found, some with proportions that are close to a golden rectangle, but clearly
not exactly a golden rectangle. If the Greeks had intended the Parthenon to highlight the golden ratio in its design, they could have taken
advantage of many more opportunities to do so, or done it with the level of exacting precision in the various places that it seems to appear
that is found throughout its design and construction. If, however, the golden ratio was intended to be included among the many numbers
and proportions included, then one can find some rather compelling evidence that they applied it, whether through a simple geometry
construction below or with the deeper knowledge recorded by Euclid some 150 years later.

https://www.britannica.com/topic/Parthenon
https://www.goldennumber.net/parthenon-phi-golden-ratio/
 Notre-Dame Cathedral

Notre-Dame de Paris, also called Notre-Dame Cathedral, cathedral church in Paris. It is the most famous of the Gothic cathedrals of the
Middle Ages and is distinguished for its size, antiquity, and architectural interest.

Notre-Dame lies at the eastern end of the Île de la Cité and was built on the ruins of two earlier churches, which were themselves predated
by a Gallo-Roman temple dedicated to Jupiter. The cathedral was initiated by Maurice de Sully, bishop of Paris, who about 1160
conceived the idea of converting into a single building, on a larger scale, the ruins of the two earlier basilicas. The foundation stone was
laid by Pope Alexander III in 1163, and the high altar was consecrated in 1189. The choir, the western facade, and the nave were
completed by 1250, and porches, chapels, and other embellishments were added over the next 100 years.

Notre-Dame Cathedral consists of a choir and apse, a short transept, and a nave flanked by double aisles and square chapels. Its central
spire was added during restoration in the 19th century, replacing the original, which had been completely removed in the 18th century
because of instability. The interior of the cathedral is 427 by 157 feet (130 by 48 metres) in plan, and the roof is 115 feet (35 metres) high.
Two massive early Gothic towers (1210–50) crown the western facade, which is divided into three stories and has its doors adorned with
fine early Gothic carvings and surmounted by a row of figures of Old Testament kings. The two towers are 223 feet (68 metres) high; the
spires with which they were to be crowned were never added. At the cathedral’s east end, the apse has large clerestory windows (added
1235–70) and is supported by single-arch flying buttresses of the more daring Rayonnant Gothic style, especially notable for their
boldness and grace. The cathedral’s three great rose windows alone retain their 13th-century glass.

Notre-Dame Cathedral suffered damage and deterioration through the centuries. After the French Revolution it was rescued from possible
destruction by Napoleon, who crowned himself emperor of the French in the cathedral in 1804. Notre-Dame underwent major restorations
by the French architect Eugène-Emmanuel Viollet-le-Duc in the mid-19th century. The popularity of Victor Hugo’s historical novel Notre-
Dame de Paris (1831), wherein the cathedral is the setting, was said to have inspired the renovations. During a restoration campaign in
2019, a fire broke out in the cathedral’s attic, and the massive blaze destroyed most of the roof, Viollet-le-Duc’s 19th-century spire, and
some of the rib vaulting.

Mathematical involved/pattern
Geometry in the Notre Dame de Paris
Throughout my research of Mathematics in the
Notre Dame i have found many intriguing and
mind-blowing facts about its Geometry and
Construction. Thanks to this project my maths and

geometry techniques have improved a lot. Although i sometimes found finding information of maths in the notre dame de paris
through lots of persistence and hard work i was able to complete the project in time and
hopefully achieve some outstanding results. My task was to research the geometric and mathematical features in the Notre Dame de Paris.
I would hope to achieve a high mark and leave here knowing i taught you all a useful fact.
Many thanks,
Marc
Many circles and obtuse-
angled triangles are used
in the construction of
this building.
The Golden Ratio
The Golden Ratio
in the Notre Dame
Northern side (facade) of the Cathedral.
The many obtuse angled arches surrounding the
Notre Dame's mainframe help to keep the infrastructure , pillars, statues and the entire
building from toppling down or crashing through
the stone and possibly severely injuring someone.
Geometry
The Notre Dame de Paris.

As you can see from this diverse drawing of the

Notre Dame there are many angles, shapes, polyhedral and 3 -dimensional shapes that are essential to the construction of the Notre Dame.
Without the symmetry of shapes and the Geometry of the Cathedral it wouldn't be standing today.

The Southern side of the Notre Dame de Paris.

Introduction to the Notre Dame
The Notre Dame de Paris
The brilliant idea to keep the civilisation safe from critical injuries.
Throughout the Notre Dame there are many arches and triangular shapes that are essential in the upholding of the building. As shown in
this diagram there are cross-hatched triangles held strongly together that keep up the roof.
Patterns in the Geometry of the Notre Dame
Conclusion
From my conducted research of geometry in the Notre Dame de Paris there are quite a lot of patterns in shapes and polyhedrons
throughout its

construction. One fantastic example of a mathematical pattern repeatedly used throughout the construction of the Notre Dame is the many
obtuse angled triangles/arches holding up the architectural mainframe of the building.

Frederik Macody Lund, a historian who studied the geometry of several different Gothic buildings claimed that the Notre Dame de Paris
was designed according to the golden ratio. The golden ratio is a special number approximately equal to 1.618. In maths the golden ratio is
used when we divide a line into two parts so that: the longer part, divided by the smaller part is also equal to the whole length divided by
the longer part, in case you did not know.
The Notre Dame de Paris is incredibly old, although still showing fantastic architecture , extravagant craftsmanship and still leaves
tourists and people across the globe astonished by its extreme beauty. Appointed bishop in 1160, Maurice de Sully announced that a
cathedral be built worthy of the this capital, Paris. Construction began in 1163 and would be completed some 109 years later in 1272.
Maurice de Sully dedicated the cathedral to Mary mother of God bringing true value to its name 'Notre Dame de Paris' meaning Our lady
of Paris.

These two diagrams show the where in the Notre Dame the arches and horizontal components are used in its construction. Two different
types of arches are used throughout the cathedral, using both vertical and horizontal components. There is also a distinct line of
architectural symmetry straight down the middle of the Notre Dame.
An Example of the
Golden Ratio.
Eastern side of the beloved cathedral.

https://www.britannica.com/topic/Notre-Dame-de-Paris
https://prezi.com/tougzbtwzvdn/the-notre-dame-de-paris/