The secret geometry in the School of
, St Peter’s Basilica in Athens , 1560 Rome
By G. Matzaridis. Translated by the Pomegranate team seeds Vretti Kotorou and Natalie Mantikou.
By connecting the two philosophers’ eyes, the circle’s diameter is created. Right after that, I draw the middle vertical line of the diameter. The intersection of the diameter and the vertical line is the center of the circle. I draw two lines starting from the center of the circle, each ending on Pythagoras’ and
’s’ heads. I connect the ending points of those two lines with another line, and what do you know: an isosceles triangle! Euclid
I draw the bisectors of the base-angles of the triangle, the extension of which points directly to Thucydides and Aeschenes. Then, I extend the lines of the triangle’s sides towards Apollo and Athena, I connect the ending points and another isosceles triangle is created!
I draw the bisectors of the two angles of the new triangle, and they once again point to Thucydides and Aiskenes. Then, from the center of the circle, I draw the verticals of the two isosceles triangles. The extension of the line shows the perspective of the painting. The triangles’ vertical creates 4 rectangular triangles. From the latter, I draw the verticals of each right angle. The straight line which unites the two intersections of the four verticals passes from the center of the painting and intersects all of the philosopher’s heads.
Conclusion: The major impact of the ancient Greek way of thinking on Renaissance artists. The interrelationship of the ancient world’s sciences.
The greatness of Art as the highest form of expression.
Conclusion II : “Let no one ignorant of geometry enter” in Plato’s academy. It seems that the ones who did enter, did it through Raphael’s brush. None the less, we, the fresco’s admirers, “entered” the painting only when we discovered the geometrical patterns that are revealed in the painting. Only then did we come to appreciate the deep symbolism it conveys.