This text examines Gottfried Wilhelm Leibniz's conception of organic bodies as "divine machines" or natural automata, as presented in his Monadology. The author critiques Leibniz’s assertion that composite things are merely aggregates of simple substances, arguing that this definition fails to capture the intricate complexity of organic life. According to Leibniz, the primary distinction between artificial machines and divine machines lies in their internal structure: while a human-made machine ceases to be a machine at a certain level of decomposition, a natural machine remains a machine in its smallest parts, extending to infinity. This infinite complexity sets nature apart from human art and reflects a hierarchical structure that resembles modern fractal geometry. By analyzing these "divine machines," the text highlights Leibniz's attempt to reconcile mechanical principles with the infinite nature of organic life, ultimately emphasizing the superiority of divine craftsmanship over human artifice and the philosophical implications of infinite divisibility.