Via a dedicated software program it has been possible to overlap circular drawings (such as the Academia Leonardo da Vinci woodcut and the Islamic Samsha sun-symbol) with paintings by Leonardo (Madonna Litta, Madonna Benois) and by Botticelli (Madonna del Libro). These paintings show a radial distribution of the figures of Madonna and Child, with the Child’s head embracing an inner circle that then expands to encompass the Madonna’s head as well. This radial distribution of figures imparts to these paintings a unique harmony and radiance that is absent in the Byzantine icons representing the same subjects over the centuries, from about the third century AC till the fall of Byzantium (Constantinopolis). Interestingly, the Madonna and Child (Tempi Madonna) by Raffaello at the Alte Pinakothek, although painted in 1508, does not follow this rule. However his masterpiece Madonna della Seggiola, 1513–1514, shows the same radial distribution as found in Leonardo’s paintings, suggesting that Raffaello had studied the works of the Maestro and appreciated this peculiar disposition of the heads of the two figures.

通过专用的软件程序，可以将圆形图（例如莱昂纳多·达·芬奇学院木刻画和伊斯兰萨姆沙太阳象征）与莱昂纳多（麦当娜·利塔，麦当娜·班耐瓦）和波提切利（麦当娜·德尔·罗布罗）的绘画相重叠。这些画作显示了麦当娜和Child人物的放射状分布，孩子的头部环绕着一个内圈，然后扩大了范围，以涵盖麦当娜的头部。人物的这种放射状分布赋予这些画作独特的和谐和光彩，从公元三世纪左右到拜占庭（Constantinopolis）的衰落，在几个世纪以来代表同一主题的拜占庭式图标中都没有。有趣的是，拉斐尔·拉斐尔（Alfa Pinakothek）的《麦当娜与孩子》（Tempi Madonna）尽管于1508年作画，但并未遵循这一规则。