In center, while Plato – with the philosophy of the ideas and theoretical models, he indicates the sky, Aristotle – considered the father of Science, with the philosophy of the forms and the observation of the nature indicates the Earth. Many historians of the Art in the face correspondence of Plato with Leonardo, Heraclitus with Miguel Angel, and Euclides with Twine agree.
In a reflective occasion drawn to the center of the picture of Raphael, I am struck by the distinction of “age and youth” as I look at Plato and Aristotle. Of what has yet to descend into the minds of innovative and genuine science thinkers to know that the old man/woman works in concert with the science of youth, and this is something yet has still to unfold.
This drawing in red chalk is widely (though not universally) accepted as an original self-portrait. The main reason for hesitation in accepting it as a portrait of Leonardo is that the subject is apparently of a greater age than Leonardo ever achieved. But it is possible that he drew this picture of himself deliberately aged, specifically for Raphael’s portrait of him in The School of Athens.See:Leonardo da Vinci
Why, when it is understood that Leonardo Da Vinci’s face is emblazoned on the likes of Plato by Raphael? It’s to call attention to Leonardo’s inventiveness that one might speculate as to what “descends into any mind” that has been prep by and stands in concert, side by side with Aristotle of science?
The ole wo/man represent all the possibilities of ingenuity as one moves to place their question. When it sinks deep into the vast reservoir of quantum descriptive world” it will then make sense that all things follow what has been put before the mind.