Professional Documents
Culture Documents
__________ __________
Plateau
of GIZA
THREE PRINTS ON THE
GROUND BY PYRAMIDS
COMPARATIVE GEOMETRY
---------------------------------------------------------------------------------- MARCH 2015 ------
INTRODUCTION
The fabulous properties of the « Geometry with eyes » are all unedited –
they are absent of the textbooks and publications. Eg : the four
manifestations of the golden ratio in the triangle 3-4-5. A complete
article is accessible at :
http://www.contemporary-painting.com/Yvo_Jacquier-Egyptian_geometry-2014.pdf
Composition
In a practical way : 1) The geometrical figures guide and define the final
lines of the artwork. 2) The meaning of this frame/composition is given
by the symbolic of numbers. These numbers allow to translate the
values of the grid into human words. For the Ancients, symbolism and
esotericism are synonymous. We separate these notions today
because we lost the skills of Egyptian geometry. In a paradoxical way,
accounting doesn't bring the symbolical meaning of numbers.
These words express the intentions of the authors, then numbers enter
in a dialogue with the grid to produce geometry. Very important point :
measurement is not the only one translation of a number. Eg the
diagonal of a double square can be the expression of number 2.
After Renaissance
The Renaissance period is the apotheosis of this culture, and also the
beginning of its oblivion. For a while, the artists will practice sacred
geometry and the perspective system. This other has never been a real
system of composition. It is a way to make real the elements in a
drawing. But there is no symbolical values, neither aesthetic. After
Renaissance, symbols have lost their geometrical structure and they
became allegories, id est undefined expressions (great confusion).
Some skills escaped in northern Italy, where painters like Poussin and
Ingres went to study painting.
Atlantic Megalithic
Other example of
this “land art” with
geometry : the
megaliths of Mont-
Saint-Michel in
Brittany. How did
they put points in this
precise way ?
Triangulation ? The
frame takes the size
of a country.
FRESCOES
The Grid
The Grid
Triangles 3-4-5
Circles diameter 1
PYRAMIDS
FLOORPLAN
This is a real gift for the study. The comparison of the geometry to the
reality of a work is the most delicate stage of the study. Above all, this
step is the most “questionable”. In the particular case of Giza, we will
confront the geometry to the values of the plan ! No contestation
possible. We respect the margins of precision or not. That's all.
Thank you so much Mister Legon !
Overview
The frame of this study is firstly based on the analysis of John A.R.
Legon. On that basis, we will build a geometrical structure according to
the corpus of geometry with eyes. The results will be all compared with
the values of the plan, into their margins. Then, we will compare the
meaning of the geometry with the Egyptian thinking, more precisely
their religion. So, in this process, we have two occasions to verify that
we are right. First, with the measurements and second, with the
mythology. A third argument has to be underlined. The structure is not a
sum of figures. They depend of each other by a chain of construction. If
you change one figure, all the other are disturbed and they stop to fit
with the plan — without any other to replace. This particular process is
called “crash test”.
We will begin by two squares for Khafre and Khufu. Then we will place
them on a great golden rectangle by a very sophisticated process. Then
we will built the third square, Menkaure, and we will find its/his place.
This frame has a physical reality. Its West edge is aligned with that of
Menkaure, its North edge passes through the center of Khufu, and its
geometrical center is on the line joining the peaks of Khufu and
Menkaure. This last property is a “tip top multi-argument”.
The red line is coming from B, corner of the great square (1000 x 1000
cubits - in golden rectangle), and it has the angle α (golden figure).
The green line is coming from E, on the east side of the rectangle. This
point is distant from the north by the half of Khufu square. The angle of
the green line is 30°(/horizontal W-E of the plan), and it refers to √3.
These two lines represent the masculine (φ, in red) and the feminine
These examples are not the only ones, but this first approach opens the
way to reflection, addressing the classic themes of the relationship
between the authority and the law, the one of Justice and jurisprudence
when more generally an ideal of celestial order is confronted to an
earthly reality... Curiously, the shades appear with sexuality.
The presence of the pyramid G1C (very poetical name) on the diagonal
line type ∆ (√3) achieves the picture. These buildings tell et first the
conception of Khafre by Henutsen and Khufu.
Last image : the star of the pentagram will join, according to the
Egyptian religion, the sky of Nut.
We find one more the trace of the rectangle ∆, with its feminine √3, as a
link between the father Khufu and the son Khafre.
• The total height of the field, with the three pyramids, is 1732,334 c.
# 1000.√3 cubits, with a precision of 1,6.10 -4 (~ 0,2 cubit or ~ 15 cm)
KHUFU (C1)
Measure of Cole ≈ 439,8 Cubits ± 0,1 Cubit
Comparative Geometry ≈ 439,78617 Cubits
—> 0,014 Cubit from Cole (7 mm)
KHAFRE (C2)
Measure of Pétrie ≈ 411.00 ± 0,073
Comparative Geometry ≈ 410,9272 Cubits (schema of Legon)
—> Result at the limit of the range
MENKAURE (C3)
Measure of Pétrie ≈ 201,44 Cubits ± 3,0 inches
maximum limit ≈ 201,58549 Cubits
Comparative Geometry ≈ 201,5465 Cubits
—> Result within the range
General information
This didactical presentation (of this royal family story) is specially
addressed to the Egyptologists.
About the accuracy of numbers : all the folder (the extensive version)
has been reviewed by Jean-Paul Guichard (IREM).
http://www.art-renaissance.net/Gizeh/10.jpg
I - This figure is not arbitrary. Three factors determine the large golden
rectangle : the north side settles itself on Khufu. The west side is
aligned on Menkaure, and its measure is 1000 royal cubits. These three
elements are anchored in the plateau's reality (including measurement,
typical of this Egypt). The other two sides (South and East) are the
logical consequences of the above — similarly the middle of the
rectangle. Finally, the line joining the tops of Khufu and Menkaure is
clearly a line of the plan - as well as the drawing of the squares.
II - The figure is not trivial. The central point represents here the golden
rectangle. One can easily identify the rectangle from this simple point.
In seeking the most westerly line, we get the exact measurement of 500
x φ royal cubits. The idea of the large golden rectangle becomes
obvious at the simple consideration of that point.