Post by ariston on Sept 23, 2008 5:20:09 GMT -5
Greetings Friends,
Raphael's Stanza Heliodorus, note how the intial 51/52 deg tri is achieved from the line alignment emanating from the cornice which then aligns with he limits of the flagstone at the front and behind. And how the scribed circle from the arches fit at tangents into the alignments
See how the alignments match the features of the Painting; Arches, Cornice, Flagstone, The corners of the 51 deg/52deg cross section touches the rim of the greater ellipse and the diameter of that ellipse. Note how the arches/Circles touch at Tangents, the whole sequence of circles touch at tangents with variant alignments which are defined by the Cornice and Flagstones, whereas the altar piece is the hub and gives the initial 51 deg/ 52 deg angle, defined by the alignment that emanates from the cornice.
The same harmonic can also be found within the design alignments within the painting, Galatea;
The cupid bow strings and arrows define the inital 51/52 deg tri.
This one is pretty straightforward, The two cupid's bow strings and Arrows, coupled with one of the creatures leashes define the greater trapezium,wherein the diagonals cross on Galatea's Nose.
One can argue whether the inspiration behind Raphaels deliberations, do indeed emanate from the Great Pyramid, undenialbly, you cannot argue with the geometry. It is intentional.
Statistically, what are the chances of 2 separate works of art by Raphael incorporating such a method being a chance thing. Why go to all that work just to incorporate a Trig Harmonic, rather , Go to all that bother to represent something rather more significant.
Light
Latona
Raphael's Stanza Heliodorus, note how the intial 51/52 deg tri is achieved from the line alignment emanating from the cornice which then aligns with he limits of the flagstone at the front and behind. And how the scribed circle from the arches fit at tangents into the alignments
See how the alignments match the features of the Painting; Arches, Cornice, Flagstone, The corners of the 51 deg/52deg cross section touches the rim of the greater ellipse and the diameter of that ellipse. Note how the arches/Circles touch at Tangents, the whole sequence of circles touch at tangents with variant alignments which are defined by the Cornice and Flagstones, whereas the altar piece is the hub and gives the initial 51 deg/ 52 deg angle, defined by the alignment that emanates from the cornice.
The same harmonic can also be found within the design alignments within the painting, Galatea;
The cupid bow strings and arrows define the inital 51/52 deg tri.
This one is pretty straightforward, The two cupid's bow strings and Arrows, coupled with one of the creatures leashes define the greater trapezium,wherein the diagonals cross on Galatea's Nose.
One can argue whether the inspiration behind Raphaels deliberations, do indeed emanate from the Great Pyramid, undenialbly, you cannot argue with the geometry. It is intentional.
Statistically, what are the chances of 2 separate works of art by Raphael incorporating such a method being a chance thing. Why go to all that work just to incorporate a Trig Harmonic, rather , Go to all that bother to represent something rather more significant.
Light
Latona
