Squaring the circle: hexagons, bi-angles and proportional circles
Flower-of-life rosettes and demonstrations that circles stand in double and quadruple proportion
The sheet is dense with Leonardo's geometry of the circle: flower-of-life rosettes of overlapping circles, paired circles inscribed with hexagons and six-pointed figures, and squares built on the chords of circular segments. The notes argue that a circle's greatest hexagon and its portions stand in double and quadruple proportion, manipulate 'bi-angles' (lune-like segments) so that a figure becomes squarable, and reduce a square to an equal-sided octagon. A one-point perspective construction in red chalk runs down the left margin, and a small multiplication (14 x 6 = 84) sits in a lower corner.
On this page
Hexagon and circle in double proportion (2nd demonstration)
Beside a double-circle figure marked '2' Leonardo writes that it equals the greatest hexagon of the greatest circle, and that the two circles stand in double proportion.
Six bi-angles worth the six portions of the circle
A figure marked '3' repeats the hexagon-in-circle relation and states that its six bi-angles, set upon the circumference of the sub-double circle, are worth the six portions of the greatest circle.
Square on a chord: portions in quadruple proportion
A square built on the chord of a segment is divided into four squares and four portions: the greatest portion equals the four smallest portions, just as the great square equals its four smallest squares, and the circles drawn on the semidiameters of the chords are in quadruple proportion.
Reducing a square to an equal-sided octagon
For a double circle f inscribed in an octagon within a square, Leonardo directs: reduce this square into an octagon of equal sides, its four concavities a b c d e h g f filled with the value of the twelve bi-angles of the central star, that is, the twenty-four portions.
Multiplication 14 x 6
In a lower corner, after five small sketches (one crossed out), a short multiplication reads 14 x 6 = 84.
Perspective construction in the left margin
The left margin carries a one-point perspective construction in red chalk, its orthogonals converging to a single vanishing point.
