A new understanding in Art History

__________ __________

Mathematics - History of Art - Esotericism - Visual Arts

The Sex of
Numbers
March, Venus, Cupid
A family story

------------ Yvo Jacquier ------------------------------------------------------------------------------

COMPARATIVE GEOMETRY
---------------------------------------------------------------------------------------- March 2015 -----

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 1 on 25

 PART I

TRADITIONS

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 2 on 25

 MYTHOLOGIES
For what the Symbolists call « the tradition », the number 3 is celestial,
feminine and sacred beside the number 4, terrestrial and masculine. I
have personally sought (and found) a lot of arguments in the artworks
which go in this sense, until I realized, about 3, that the evidence of
Celestial are direct, while those of its female property remain indirect.
Eg, the Vesica Piscis, the divine and female vulva is marked by √3, and
not directly by 3... Another embarrassing example : the magic square of
order 3, from Byzantine origin, is attributed to Saturn. This planet is the
frontier of the visible space, without telescope, and the Celestial option
is legitimate. However the virility of the "old taciturn" doesn't fit with
femininity, as « the tradition » attributes to 3. Saturn should be relieved
of this wrong role, and THE Celestial must take a "reasonable distance"
in front of what that becomes THE Terrestrial.

1 - Traditions – The tradition

The so-called tradition often contradicts itself in the name of the
mystery. 3 and 4 are neutral in essence, and the genders will be
defined differently besides. The doubts about the femininity of 3 have a
broad historical roots (the same about the virility of 4). Thus the myths
of ancient Greece "reverse" the roles of Heaven (Uranus, male) and
Earth (Gaia, female). The mythology even cuts the phallus of Ouranos.
That of Osiris does not know a better fate, Isis owes its fertility to a
subterfuge. The Isis Egyptian triangle attributes the side 4 to the
goddess, and the side 3 to her husband Osiris (the hypotenuse 5 is for
their son Horus). The terrestrial Isis, symbol of the hidden laws of
nature, faces a celestial Osiris funerary god and judge of the souls.
These definitions will evolve over time in Egypt, including for political
issues.

For their part, the Pythagoreans would associate the 2 with woman, and
the 3 with man. Finally, the Western tribal Africa attributes the 3 to the
man, and 4 to the woman. In many cases, the male and female
qualifiers are inverted with respect to the claims of “tradition".

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 3 on 25

 2 - The lesson of tarots
The tarot cards are a true encyclopedia of the symbolic. The reference
game is that of Nicolas Conver, falsely dated from 1760. And the
original model of these cards is much older. The project is of Byzantine
origin and it crossed the north of Italy to reach the expert hands of
Albrecht Dürer. The Conver is actually the replica of the (woodcut)
original master of Nürnberg.
http://www.melencoliai.org/Tarots/Costumes.html

Christophe de Cène have restored the pyramidal structure of the cards

by their dice combinations. The complete article is at :
http://www.melencoliai.org/compo-tarots/Christophe_de_Cene-
Numerical_pyramid_tarot.pdf
The "visual" pyramid is at the address :
http://www.melencoliai.org/farandole/numerique/Pyramide_numerique-2.jpg

2.1 – The wings of Celestial

The Empress is the card number III, and her associated combination is
(3.3). Five other cards have this 3 in common : XVI-6.3 La Maison Dieu
- XX-5.3 The Judgment - VI-4.3 The Lover - XIV-3.2 The Temperance -
XII-3.1 The Hangman. Methodically, these six blades show the various
ways to invest the celestial space. It must be either :

• 3.1) Hang oneself physically, by the feet, as this Hangman, and enjoy
this world upside down, meditate.

• 3.2) Be an angel standing upright like the Temperance (one of the two
representations of St Mikael), wielding the magical fluids.

• 4.3) Be a winged God, for example Cupid on the card of the Lover.
And practice archery.

• 5.3) Be an angel on a cloud, like that of Judgment. The practice of

trumpet seems optional.

• 6.3) Jump from the top of a tower like the two human characters of
the Maison Dieu.
A detail is hidden in this card in the plume of smoke/lightning : the dove
of the Holy Spirit. The myth of Icarus is not far.

• 3.3) Have a dream, like the Empress, and let grow the filigree wings
of spirituality.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 4 on 25

 N.B. 1 : here the wings are the prerogative of the angels and the birds.
The wings of the Empress are blue shadows, and the bird of the Star
flaps its wings, but it does not fly. The accuracy of these images invite
us to exercise the utmost rigor, concerning numbers.

N.B. 2 : The only purely female blade of this set is the Empress.
Celestial femininity is far to be an evidence in tarot cards.

2.2 – Celestial and terrestrial couples

In the pyramid reconstructed by Christophe de

Cène, nine couples of cards are placed
symmetrically to a vertical axis. Three cards are
on this axis: The World (XXI), the Chariot (VII)
and the Lover (VI).

These couples are gendered. The three cards of

the central axis, including the Lover, are not
concerned. We can point out on this occasion,
that the sex of the character into the card of the
World has probably no real importance.

Each card feeds from two archetypes at the base

of the pyramid, as represented here by arrows -
white for the Empress and black for the Emperor.

The verdict is clear : three cards on four claiming

the Celestial Empress are masculine.
Conversely about the Emperor.

The idea of a feminine Celestial and a masculine Terrestrial collapses.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 5 on 25

 2.3 – When the tradition looses its way

The card of Lover (VI) is at the intersection of the

Empress (III) and the Emperor (IIII). It is the union of
Heaven and Earth. At left, the Conver sets the scene of
a marriage contract under the auspices of Cupid. His
arrow can not be perfectly vertical, no more than the
scepter of God in the Holy Trinity by Rublev : human
freedom depends on it. On the right, the woman wears
a hairstyle typical of young brides, and her mother
knights the young lover.

In a very personal version,

Oswald Wirth draws a kind
of fop between two young
women with a tantalizing
allure.

The purpose of this trio leaves room for

interpretations beyond the boundaries of
marriage. From the origin, the classic card
is too often interpreted as that of a false
choice : the young man would hesitate
between an old and wealthy woman and
another young and poor. That choice does
not care about love, it brings into
opposition the greed and the hunger for
flesh. This freedom despises the human to
the benefit of the ego. And Cupid has no
place in such a charade. In addition, his
arrows don't fit with the notion of doubt!

In the Conver above, the heavenly love finds an earthly dimension and
the history ends by a marriage contract (see the hairstyle of the young
woman). The tradition presents the alliance of heavenly love with the
terrestrial social like a vertical transaction. Love and Heaven are not
feminine, but they are shared objects - and the social terrestrial is not
masculine. Wirth distorts this verticality in favor of an arrow aiming the
head of the man instead of landing between the legs of the characters.
The map shows a woman with an "aristocratic look and a "country girl".
These allegories install an horizontal competition that erases the
purpose of freedom : the commitment.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 6 on 25

 THE LESSON OF EGYPTIANS
Aristotle proclaims in his « Metaphysics » :
In this way, the Egypt has been the birthplace of the mathematical arts
Thales (-625, -547) is the first of the Greeks to study geometry in Egypt.
Pythagoras (-580, -497) even learn the Pharaonic language and "the
secret doctrines concerning the gods". Democritus (-460, -370) made
his classes there (in geometry). The astronomer Eudoxus (-406, -355)
spent fifteen months with Egyptian Priests. Finally, following his meeting
with the Pythagoreans, Plato (-428, -347) stayed in Egypt with the
priests of the high clergy.

The Egyptian geometry has preceded that of Greeks, and

methodologically it also demonstrates a consistent corpus. One thinks it
with the eyes avoiding the calculation, because it is primarily used to
build art and architecture. Few axioms are enough, the similar triangles,
to which Thales will give his name.

The pyramids of Giza

In 2012, the study of the floorplan of the Giza pyramids was an
opportunity to trace the source of sacred geometry. This plateau offers
a festival of the highest level. The reconstruction line by line of the
corpus of "Geometry with the eyes" Egyptian had just ended, under the
benevolence of Jean-Paul Guichard (IREM-Poitiers). The very new
mathematical arguments were eager to get involved into the concrete of
the composition. As my teaching guide had suspected, the "arithmetic
version" of the plan, carefully prepared by the physicist John AR Legon,
had not revealed all its secrets. The accuracy of this synthesis of
surveys was however an asset : a guarantee of certainty for any reliable
geometrical proposition. An introductory article is available at :
http://www.contemporary-painting.com/Yvo_Jacquier-3_squares_Giza.pdf

The Egyptians have the spirit of simplicity. They make a place to

complexity when it makes sense : about the sacred. The logic of
geometrical figures and their formidable sequence were the evidence. I
then experienced the feeling of a lack...

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 7 on 25

 The fourth pyramid of Giza
The three men of the family, Khufu, Khafre and Menkaure were
involved in a large geometric scenario, each line had a referent, with
logic, but one line was desperately orphan. That was impossible to
move it, even less to remove it, and it was staying desperately
anonymous. For common sense, the three great pyramids of the father,
son and grandson were not enough. So I tried to find the exact place of
the pyramid dedicated to the Queen Henutsen, the wife of Khufu and
the mother of Khafre. And all has lit up.

Two lines, led by two principles

related to the golden ratio, φ,
and to the √3, respectively from
the pyramids of Khufu (the
father) and Henutsen (the
mother) cross precisely at the
foot of the pyramid of Khafre
(the son). The two numbers φ
and √3 build a speech about
procreation !

The composition of Giza, its footprint, is an extraordinary source for our

understanding of both the symbolic and the Egyptian culture. In
addition, sacred geometry demonstrates its wonderful unity in time. And
for good reason : it relies on mathematics that it considers as the
language of God(s) !

The resolution of the masculine and feminine principles of the

symbolism began by the study of pyramids. These tell us primarily a
family story. A little common sense was enough to foresee it, in front of
the names of the son, the father and the small son. It was enough to
find the woman to conclude...

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 8 on 25

 PART II

PROPORTIONS

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 9 on 25

 THE GEOMETRY WITH EYES

Un article de référence avec l'IREM

The study of a particular sign, the letter "G" in the tympanum of
Conques - jewel of Roman art, has triggered a very productive work.
Here is the result of the reconstituted dialogue between the spirit of the
Egyptians and that of the Greeks :
http://www.contemporary-painting.com/Y_Jacquier-IREM-Figure_Tympan_Conques-en.pdf

The original purpose of this study was pedagogical. However, the

amount of accumulated properties has significantly strengthened the
status of the root of three, as a proportion, to the point of bringing it up
to the number of gold. This one was the only one, so far, which had
attracted the attention of the scientists.

The corpus of the Egyptian geometry

The reconstitution of the Egyptian geometry and its corpus has required
many years. It was necessary to establish a catalog of very unusual
methods into the demonstrations, and to engage them into the study of
classical figures of geometry. The 3-4-5 triangle reveals a series of
completely inedited properties, absent from textbooks. The golden
appears in four different ways, in the said triangle.
http://www.contemporary-painting.com/Yvo_Jacquier-Geometrie_egyptienne-2014.pdf
The fact to avoid the calculation does not produce less results, but
another way to understand the geometry.

Construction of √3 and φ, the golden ratio

The geometry with eyes of the Egyptians understands the proportions
of rectangles by the angle of their diagonal.

Both numbers √3 and φ are born of the same double square by a game
of diagonals. This common origin is full of symbolic meaning. We find
the idea of soul mate, by which an original entity divides to form two
complementary expressions.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 10 on 25

 Left : The root of three is obtained by the copy of the two units of the
double-square which become the diagonal of a rectangle, called type ∆.
We construct indeed a right triangle with the measures 1 and √3, with 2
as hypotenuse. And that's half of an equilateral triangle (hence Δ).

Right : The golden ratio is obtained by the half of the angle of the
diagonal in a double square. The bisector intersects the horizontal of
the first square to the distance φ. This is also the average of 1 and ∂ -
diagonal of the double-square (=√5).

Reproduction
In nature, the reproduction starts with a division. But in this process, the
two rectangles that we presented do not have the same behavior,
especially by the withdrawal of a square. We are in a geometry with a
grid, and we started with a double square. This square belongs to a
logical development.

The withdrawal of a square from a

golden rectangle produces another
golden rectangle. In biological terms,
this division remembers the cloning.
But this identical reproduction (except
the scale) is not what we expect better
in reproduction.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 11 on 25

 The rectangle of proportion √3 is called "type Δ" because its diagonal is
the side of an equilateral triangle. The withdrawal of a square from the
rectangle Δ is a rectangle of type Δ ', of proportion (1+√3)/2.

This value is a relative of the golden ratio φ = (1+√5)/2

and it comes out of the belly of the √3.

Several simple equations emphasize this relationship :

If H = (1+√3)/2

H2 = H + 1/2
H.√3 = H + 1
Which remind :
φ² =φ+1

This value H comes out of its mother's belly and looks like its father.

The Little angel, Cupid, in the famous

engraving « MELENCOLIA § I » by Albrecht
Dürer, is designed according to this
proportion. Its vertical measurement is 5/√3 -
in a setting that is 14 units high.

In the composition of the Giza Plateau, the

pentagram that unites Khafre to his father
Khufu puts its center in the middle of a same
type of rectangle (which extends the square of
the son Khafre).

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 12 on 25

 The genetic code of numbers

The reduced fractions

Any number can be decomposed as a sum of integers and residues,
with a unique process (in this example, the root of 2) :
http://upload.wikimedia.org/math/d/1/2/d12c854854016d41841cedae13951cd2.png
The sequence of integers of this “step fraction” is :
√2 = [1, 2, 2, 2 etc]

The « reduced » build a set of fractions that develop closer and closer
to their number. They neglect the residual distance with the referent
number. This, to be rational, ie the type of a/b, where a and b are
integers. Each fraction is identified by its place in the series, called rank
n, from n = 0 (rank of the integer part of the number).

The reduced of √3
The primes are in red
0 1 2 3 4 5 6 7 8 9
1/1 2/1 5/3 7/4 19/11 26/15 71/41 97/56 265/153 362/209

10 11 12 13 14
989/571 1351/780 3691/2131 5042/2911 13775/7953

• Synoptic and didactic visual of the reduced of √3 :

http://www.art-renaissance.net/Schools/Inferno_Canto_XXXI/Fractions_reduites-racine_3.jpg

• 9th position in the listing (n=8, precision 10-5) :

265 = 5 x 53
153 = 9 x 17
153 = 1 + 2 +...+ 17
• 13th position in the listing (n=12, precision 10-7) :
3691 is prime
2131 is prime

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 13 on 25

 The ratio of the numerators
A second train of proportions is revealed within this sequence of
numbers. Christophe de Cène was interested in the reports of the
numerators (denominators have the same behavior). These ratios
approach even faster their limit, namely :
(1+√3)/2 when n+1 is odd, et 1+√3 when n+1 is even

0 1 2 3 4 5 6 7 8 9
1 2 5 7 19 26 71 97 265 362
2 2,5 1,4 2,714 1,368 2,732 1,366 2,732 1,366
-3 -4 -5
2% 2‰ 10 10 10 10-5

10 11 12 13 14
989 1351 3691 5042 13775
2,732 1,366 2,732 1,366 2,732
-6
10 10-7 10-7 10-8 10-8

The formats
The proportions which have interesting behaviors by division or removal
of a square are very few. Let us consider the most common rectangles
of sacred geometry. The rational values, like 4/3 or 3/2, do not produce
anything interesting, we have to turn to the "quadratic" values, the
square roots.

N.B. :
A rectangle of proportion √n,
with n integer, contains n
rectangles of the same type.

In final, three proportions emerge :

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 14 on 25

 • The √2 produces, by division or by duplication, the same proportion.
This is the case of common formats, of Type A, that we use daily.
A4 = 21,0 x 29,7 cm A3 = 2x A4 = 42,0 x 29,7 cm
A0 = 84,1 x 1 18,9 cm —> The surface of A0 is de 1m²
√2 = [1, 2, 2, 2 etc] Diagonal of a simple square, side 1

• φ produces by removal of a square, the same format.

(1+√5)/2 = [1, 1, 1 etc] Golden Ratio

• √3 produces by removal of a square, the format (1+√3)/2

√3 = [1, 1, 2, 1, 2, etc] Height of the almond of a Vesica
(1+√3)/2 = [1, 2, 1, 2, 1, 2 etc] Ratio of [Triangle equi.+ Circle]
Note the similarity of the codes of these two proportions.

Thus the child (1+√3)/2 resembles to its father φ = (1+√5)/2 by its

algebraic expression, and to its mother √3 by its genetic code.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 15 on 25

 PART III

SYMBOLIC

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 16 on 25

 The Vesica Piscis of Venus

Construction

Definition
Two twin circles put their center
on the line of the other.

If the circles are radius 1, the

height of the almond is √3. and
the blue rectangle is 1 x √3.

The rectangle contains two

equilateral triangles, that can be
placed as a lozenge or, as here,
as a sandglass.

The « déïque vulva » of the almond makes from this figure both a
feminine and fertility symbol (see below).

Constructions on the grid

The Vesica Piscis belongs to the chapter of the

equilateral triangles. The basic figure is a circle
diameter 4 on a square 4x4, that provides the
trisection of the right angle - there where the circle
intersects the grid. The hexagram is the
a cco m p l i sh e d g e o me t ri ca l f i g u r e o f th i s
development. It consists of two equilateral
triangles that share their centers of gravity, of the
inscribed and circumscribed circles, and their
symmetry axis.

With the Vesica Pisces of Venus, we enter another phase of the study.
In a first approach, we considered the numbers as proportions. Their
geometrical translation was rectangle - the primary version. Other forms
appear.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 17 on 25

 The exclusive symbol of Venus
The Vesica Pisces is the symbol of Venus. It has a very ancient origin:
the cult of fertility Palaeolithic (Gravetian Venus). In the composition of
tarot cards, the two circles are diameter 7. This geometric figure is the
prerogative of Venus.

Contrary to the received idea, there is

no representation of Jesus-Christ
which borrows this scheme to build its
mandorla. The centers are still out of
the circles. Sacred geometry respects
somehow the anteriority of Venus.

Left, the tympanum of Conques -

XI/XIIth century - roman art. The
mandorla of Christ is 3 times the
distance between the centers of
their circles.
If this distance is 1, the radius R1 of
the circle is (√10)/2 = √(5/2).

The archaeologist Genevieve von Petzinger has sought the traces of

the vesica piscis in the Paleolithic, but in vain. In fact, the figure of the
vesica piscis is typical of the geometry on the grid, which is a
component of the « Neolithic beam », the set of factors that
characterize the Neolithic revolution (or “Néolithisation”). Men
fundamentally pass from magic to religious/sacred. The figure of Venus
is the example of the emergence of a new thought, as much as of a
change in the expression of the spiritual.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 18 on 25

 The Pentagram of March

Summary
The √3 shows its femininity through the study of numbers and shapes.
Beyond the rectangle Δ and its proportion, its referential figure is the
Vesica Pisces of Venus. The proportion Δ’ comes out of Δ by the simple
removal of a square. Δ [= (1+√3)/2] has an algebraic affinity with the
golden ratio, φ = (1+√5)/2. A family resemblance. Δ’ has as much
affinity with the √3. Their genetic codes (reduced fractions) are closely
linked. For all these reasons, the proportion Δ’ can be considered as the
child of √3 and φ.

It seemed logical to link the Hexagram to the √3 and its femininity. Let's
be careful. The star needs √3 to grow, certainly. This does not mean
that it is the expression of femininity. The 6, that characterizes it, is an
indice. This time, we will have to listen the discourse of the "tradition,"
which sees in this figure the symbol of universal love.

Now we will concern ourselves with the golden ratio, we will seek its
geometrical expressions beyond its rectangle proportion. We will use
the comparison with the hexagram, which is a kind of vis-à-vis. On one
hand the fixity and balance of the hexagram, the triangles are pooling
their centers and their symmetry axis. On the other, the mobility of the
pentagram, its orientation and its ability of combination (seen in
chemistry, especially with quasicrystals now Nobel prize-winning). The
orientation of the golden ratio is evident in the simplest expression: the
rectangle. There are two ways to put the dividing lines, and they result
in two spirals. Dextrorotatory or levorotatory - in the manner of 6 and 9.

All the progress of the geometry with eyes have been initiated by a
discovery in the works of art and architecture. The "G" of the tympanum
of Conques is one of the more didactic cases. This time, we'll call at the
helm of the ship one of the three great artists in art of composition, with
Andrei Rublev and Albrecht Dürer, for whom he was the master :
Sandro Botticelli (1445-1510).

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 19 on 25

 Venus, or the lesson by Sandro Botticelli
This work has the status it deserves: one of the biggest hits of all time,
mainly due to the emotion caused by this painting. Botticelli not talking
about beauty, it shows us what it is. Even summarized, compiled,
shortened by a series of simplifications, the mastery of this work does
not lose its strength.

The equation of Venus

The three major issues of painting are : What is God ? Rublev literally
evades to his Prince Vasili with "The Holy Trinity". What is figuration?
Dürer responds through a "didactic project" that includes four copper
engravings, called Meisterstiche, and the woodcuts of an entire set of
tarot cards. Before him, Botticelli answers the question: "What is
beauty ? ". The "Birth of Venus" pushes this equation to its perihelion:
more than an answer, there is a revelation.

Presentation of the work

The grid has its origin at the top right.
The frame is 2φ3 in width, and 2φ2 in height - golden rectangle.
The navel of Venus (no one symbol could be more relevant) is at :
- 2 units of the top of the frame and 2φ from the bottom.
The navel cuts the height with the golden section.
- 4 units from the right edge. 2√5 from the left edge.
2 double squares on the right, 2 diagonals of the same figure on the left.

Venus does not stand upright,

the horizon invites to surf and the
shell stands up vertically. In
general, all the background
seems a stage set stretched
behind the characters.

The original title of the work warns us. "Venus Anadyomene" id est
"coming out of the water." The scene takes place underwater. The hairs
and draped testify it; they float in the space with a sort of characteristic
slowness. N.B. The wind, like the light, must choose a direction ...

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 20 on 25

 The story/history of Venus

When Botticelli begins his painting,

his model (Simonetta Vespucci) is
dead for ten years, swath in her full
youth. An inverted pentagram, which
covers the height of the frame, pats
her on the shoulder and crashes into
ground. The hope will be born from
an upright pentagram, which will offer
a wide golden triangle...

Simonetta has the milky skin of Greek

marbles. Sandro studies them, in the
collection of the Medici. She will be
reborn in the guise of a Goddess.
Venus is the daughter of Uranus. A
golden spiral is lost in his heaven.
The divine seed will cross the scum
that it will fertilize, like an alevin's milt.
Chloris sprints on this path.

Venus is marine. A Vesica Piscis

takes the mermaid's body, and it offers
all the harmony of the world. The
circles are diameter 5, in which two
rectangles 3x4 are bowing. Their
crossed edges join the angle of the
twin. How can the triangle 3-4-5
manage such marriage with the
Vesica ? This is a lesson of the
pentagram...

This composition is a set of superimposed figures. They bind

themselves with compelling logic, and irrigate the entire canvas by a
real will. Several key figures round off the system. We present only the
most accessible to the speech.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 21 on 25

 Two foci wear a set of lines at 9° from
each other. These whalebones keep
the mermaid. The movement of the
characters binds to this frame, and the
closer they get close to the foci, the
more they accord to the fan.
Especially the feet of Zephyr, Chloris
and Hour.

The spiral of the pentagram

concludes the composition like a
signature. The curve enters into the
déïque vulva and goes out at the top.
Ouranos fecundates the foam, not
without having tasted the joys of
femininity.

The metaphysical lessons of this work are now under the responsibility
of a real author. I bring the scales of this wonderful fish, and I wish them
to shine in the light of genuine talent, and by other eyes than mine.

The sexuality of numbers

We suffice to push the investigation on the sexuality of numbers ;
purpose of this article. As they showr in this example, the male and
female principles are not expressing in the same way. The golden ratio
takes two forms, pentagram and spiral, and each time it is moving. It
designates Simonetta, it crashes into the ground, it stalls two rectangles
and directs the toes of the characters. Finally, it shows the path from
the depths of the sky up to the feet of the Belle. The idea of a "passive"
female and an "active" male is not new. In this work, this becomes
literally didactic.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 22 on 25

 The orientation and the movement
We addressed this characteristic of the golden ratio - and therefore the
logic of all of its developments. φ is by nature oriented. This trait can not
be separated from its ability to act. There is no movement without
orientation. Basically, any vector has a point, an origin and a direction.
As we have studied and observed, the √3 does not wear this principle.
The Vesica is symmetrical in both directions. Dan Shechtman, Nobel
Prize in Chemistry, in 2011, has faced this problem with the
quasicrystals. Certain metals have a non periodic structure. They renew
their arrangements indefinitely without being broken. These principles
are known by ceramists since ancient times; they use parts of
pentagram, golden or silver, triangles and lozenges, to renew their
paving.

So we need to distinguish the roles, and the logic of proportion to which

we summarize often the art of composition does not fit. The geometry
carries an idea of movement, and the multiplicity of the figures
contradicts the "squared conception". The proportions are the
symptoms of a much more elaborate system, as well as the grid is the
support of many figures that are not only the rectangle.

The reflection on geometric expressions of the golden ratio, as

masculine, is far from to be complete. But it has began.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 23 on 25

 La figure de passage

The pentagram and the Vesica Piscis

The Vesica Piscis produces literally a pentagram.

To reveal a real relationship, a coincidence of figure, he

must grow from the center of the circles of the Vesica.
φ = (1+ √5)/2 = 1/2 + √5/2
The translation is a square (of 1/2) plus the diagonal of a
double square. We defer the total to the vertical height
through the almond.

Now simply extend this bar of golden ratio until

the circle to complete a branch of the pentagram.
The addition of 1 unit by the circle establishes its
center as the point of intersection of the
branches (this is the point of separation
according to the golden ratio). Then, from the
bottom point, we pass through the symmetrical
center, on the left of the Vesica.

These demonstrations need only the axioms of similar

triangles. With this modest equipment, our ancestors were
able to get all the secrets of the pentagram, here in
harmony with the Vesica Piscis.

N.B. : 8 of 10 points of the pentagram are on the circles.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 24 on 25

 LE SYSTÈME MASCULIN-FÉMININ
Now the principles of femininity and masculinity should be part of a
whole, in a vast symbolic representation. The Heavenly and the Earthly
must be confronted to the masculine and feminine. Their direct
association is not convincing, we can not say that the Heavenly and
Earthly are marked by one of the two natures. The symbolic offers too
much "against-examples". Except not to consider the consistency of this
noble discipline, we need to find a generic explanation that involves all
cases. There is an example of this kind of problem which is completely
solved : the four elements, and how they have been explained by the
tradition...

Two double-principles combine themselves to generate the four

elements. Hot and cold, dry and wet. It should be noted that all these
notions have some sort of affinity, just as the Heavenly and Earthly with
the feminine and the masculine. Thus :
- THE AIR is the combination of hot and wet
- THE EARTH is the combination of cold and dry
- THE FIRE is the combination of hot and dry
- THE WATER is the combination of cold and wet

Similarly one can compare the concepts of Celestial/Terrestrial those of

feminine/masculine. The Tarot cards, the encyclopedia of the symbolic,
inform us :
- THE EMPEROR, IV, combination 4.4
is a male representation of Terrestrial
- THE EMPERESS, III, combination 3.3
is a female representation of Celestial
- THE JUSTICE, VIII, combination 5.4
is a female representation of Terrestrial
- THE TEMPERANCE, XIV, combination 3.2
is a male representation of Celestial

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.

Yvo Jacquier - Comparative Geometry - The sexuality of numbers 25 on 25