There was an egg tempera painting in the Florence Gallery.
The Son was not nailed to the cross, but to the Tree of Life. It bore forty-eight glittering golden "fruits," telling forty-eight stories from his life. At the base of the tree were scenes from Genesis: The Creation of Adam, and Adam and Eve being cast out of Eden.
It was an enormous, awe-inspiring painting. Though Pomona had never seen it in person and had only viewed it in an art book, every figure seemed tiny beneath the suffering Son at its center.
Leonardo da Vinci also had a famous work, the "Vitruvian Man." The man in the drawing stood with his arms spread and his feet together, forming a cross.
When Vitruvius described how the primitive people who built the first houses differed from animals such as ants, bees, swallows, and badgers that could also build shelters, the first thing he mentioned was neither their extraordinary manual skill nor their ability to imitate, but their upright posture. It not only lifted them from the horizontal earth, but also stopped them from looking down at the ground like animals. Instead, they gazed upon the brilliant, star-studded heavens.
When William Blake depicted the king of Babylon, he showed him crawling on all fours like an animal.
The outer circle of the Vitruvian Man sketch measured 26.4 inches, while the Sun's average rotation period was 26.4 days. The combined length of the four sides of the outer square was twenty-eight feet, exactly one complete lunar cycle. At the same time, the circle and square had exactly the same area. This had once troubled many people. The formulas for circles and squares contained an infinite, non-repeating constant, making it impossible to obtain a circle and square that were perfectly equal in size.
Leonardo