The Zodiac figure features the twelve astrological signs patterned across a male body. It was believed for thousands of years that each part of the body had a corresponding Zodiacal sign. The Zodiac figure served both as a visual embodiment of the perceived connection between the microcosm of man with the larger macrocosm of the universe, as well as a practical tool to help physicians determine the best time to practice surgeries, bloodlettings, and other medical procedures. It was thought that while the moon was in the corresponding sign of a particular body part, death would occur for the patient if the physician operated on that part. As with the bloodletting figure, this image utilizes the canvas of the body to easily depict in graphic form guidelines that would be memorable to practicing physicians.

It is also a fun image to look at. Aries the ram perches on the figure’s head; the description to the left states that “Aries is the sign of the month of March,” and goes on to describe that Aries is connected to the head. The bull Taurus curls around the figure’s neck; Virgo in the center and one Gemini on each arm. Cancer the crab, Leo the lion, Libra holding scales, and Scorpio the scorpion run down his torso. Sagittarius—the centaur with his bow—gallops across the figure’s upper thighs, Capricorn the goat winds around his knees, Aquarius empties a vase between his legs, and the two fish of Pisces are entwined between his straddled feet.

1495: In this image, the Zodiac figure demonstrates each sign on his body, and short descriptions surround him, separated by neat frames. The figure stands firmly on solid ground, indicating he is connected to both the physical and celestial worlds. As with the bloodletting figure in this edition, the male genitalia have been covered by a later reader.

1500: The plate itself is essentially identical to the 1495 edition, but again we have the addition of color to the image. The Zodiac figure’s body is flesh tinted, the ground is a convincing green, and most eye-catching is the bright red Cancer crab on the figure’s sternum.

1509: The 1509 version adopts almost an entirely new design for the Zodiac figure. The figure is shorter, and not drawn with the same classical, idealized nude male proportions as its counterparts. The figure is not depicted on solid ground, but rather floats in mid-page. Furthermore, the compositions of the Zodiac signs, while still connected to their assigned body parts, have been reworked in most cases. While the textual descriptions of each sign are still presented on either side of the figure in roughly the same order, they are cluttered by the addition of thick lines pointing to specific features on the figure, some of which are not connected to any description.

1513: The 1513 Zodiac figure is essentially the same as the 1495 and 1500 versions.

1522: Although using the text of the 1509 Italian version, the 1522 Zodiac figure reverts to those of the 1495, 1500, and 1513 Latin versions.