The aim of this paper is to explore the way in which Maximus the Confessor determines the limits of the created beings by the logoi. The delimitations imposed by logoi serve to define the natural borders of created beings, but also to help created beings to exceed their limits. The created beings that are naturally limited by their beginning and end, tend to become both beginningless and endless. The beginning and end of created beings are connected with their activity and movement, while their beginninglessness and endlessness pertain to their passivity and rest (ever-moving rest). In a series of geometrical images dispersed throughout his opera, Maximus identifies the movement of created beings with a straight line, and the passivity or ever-moving rest around God of the created beings with a circle. With the help of these geometrical analogies, this paper intends to recreate the complex matrix of delimitations, movement and rest of created beings in Maximus’ thought.