Draw a square of side AB
with invariable radius circles?
Only a circle of radius AB can accomplish it!
To the tracing for the equilateral triangle is added the bisector that joins the points
Y of intersection of the two circles, then a circle with the center in
C – passing through a and
B – which intersects
CX is obviously the same as
AB, but usable only as a radius for a new circle with center in
X, which will meet the two initial circles in
E, valid to demonstrate tout court the completion of the square
ABDE profiled by the [radius of] 1st circle, delineating within it the exact quarter of the circle, a prerequisite for the final acquisition of the π geometry stated by this study.
An interesting aspect that derives from it is that this scheme offers the possibility, starting from an equilateral triangle
ACB, to trace the square with equal sides.
I will not attempt an unnecessary algebraic proof, since my intent is to highlight how the circle makes use of an interesting horizontal and vertical symmetry together, the first based on the two centers, the other decisive on the circumferences, for a sort of parthenogenesis of the 3rd from
XC, as if to say a sign of the cross, synchronizing the use of 'itself' four times, ie with a single basic measurement, to give rise to what, according to a π that we will discover at the end of the treatise, it will correspond to a quarter of the circle, even if valid for the whole.
As in its immanent aspect the circular unit manifests its cyclical nature in four distinct phases, in an orbital circumnavigation as well as in a sine wave, so I believe that I have to conceptualize, or be induced to think of the four entities involved as if they condense their essence combined and reflected in each of the sides of the square, translating it into a finite unity, sufficient to identify and distil all the metaphysical key π, the art of combining the rhythms of time with those of space in becoming.
In this diagram, a very close connection between circle and square is undeniable: a circumference based on its own side multiplies by four in a cruciform movement, to produce a quarter of that square that geometrically envelops it and with which it will identify thanks to the π inferred at the conclusion of our research; almost as if its value were reintroduced by each of the four orientations.
As already stated on page 14 of the Treaty «2×2=3,14»
If the triangle is three [spirit], the square is four [matter] and the pentagon is five [transformation], we will have to think of the circle as One [Source of being]
Each point, like the extremes of the segment, is the center of a potential circle, which represents everything around it; but even if the number of circles is virtually infinite, only one is what defines the segment, and it is the circle passing through the other extreme, thus defining its own radius.
Therefore, the 'splitting' of the Unity into two circles can only take on an actuating value of tangible linear reality.
with the center zero, and thus attribute the two to the extremities of the simple segment [duality, transit, polarity, comparison, connection].
Even if it does not encompass its full width, as well as in any figure having a number of sides greater than 4, if I am allowed to consider the radius of the circle – the only measure that defines it, that draws it and calculates it – as its 'side', assimilating it to that of any other polygonal figure, that dynamic ratio from one to four manifests itself without compromise.
It is in this sense that the essential need for four circles of equal radius is evident to delimit the square and on the other hand, since the resulting figure is ¼ of each circle, it will take four to complete the entire circle.
Will it be just a play on words? maybe yes; but it solely applies to this solution, making it the most coveted.
It made me ponder for whole days, being the most efficient and compact of all the schemes for forming a square, and as far as I know it has never been reached before in such a way, unlike triangle and pentagon.
It is foregrounded by the algebraic profile for which, referring to ¼ of π, the area is scanned by (r×r) × π /4 and the arc of circumference by (r+r) × π /4.
|area: π r2||circumference: 2 π r
Since the completion of my first issue of the subject («2×2=3,14», confidentially: "two for two equal to three and one four"), I am more and more convinced that to really understand it, the π should be related to the quarter circle.
I struggled in my mind to make such an insight evident, until geometry itself came to my aid:
It can be observed how the system of circles that incorporate the square is in turn naturally inscribed in a square that delimits them on all sides.
In fact, its dimensions depend on the double and equal formation of two circles, both horizontal and vertical, arranged so that
it corresponds to the projection of the virtual square built and centered on the cross
CX-AB, crossing its diagonals and vertices; a surprising solution for its uniqueness and which, respecting the contextual premises, appears unattainable without going through the square
ABDE; almost bound to remain a mystery.
Another noteworthy fact is that the side of the circumscribed square has a length equal to three times
AB, as can be seen for the tangentiality to the two circles centered on its ends. The same occurs for the two by
With the four circles thus arranged, we had therefore virtually defined even the square that encloses them, which can be reinterpreted as the latent dominant of the whole.
Four equal and symmetrical circles (compass) – three centered at the point of an equilateral triangle with identical side;
It is, however you interpret it, the most fascinating paradigm of how one circle could generate the square of a desired size, or that has a side in its radius, quite rather than passing through ruler and compass, for being due to its intrinsic virtual property.
two segments resulting in a cross (ruler) – the horizontal is for start, the vertical is resolutive.
It looks like a mandala to meditate on!
To simply draw a square I could have used the method on the side, from
Y, and then from
B to cross the vertex
E; or another occasional and plausible one, but what would they teach us? Following the vertices and sides of a figure is not always the same as exploring the creative Mind, to enhance the difference between matrix Intelligence and an improvised geometric path.
Whilst the former looks like a living integration of circle and square, the latter is just a drawing of a square with multiple uses of the compass.
An esoteric aspect not to be overlooked …
is the fact that this solution draws its foundations from the universally celebrated figure called Vesica Piscis (bladder of the fish, in Latin), also known as the "mystical almond", symbol of the Mother Goddess or the Eternal Feminine, handed down to the basis of different ethnic groups, from ancient Mesopotamia to Africa and from India to Asian civilizations, finally to various European cultures, for its plastic and mysteriosophic but also mathematical implications.
|the Vesica-Piscis hovers in the Vatican's p.za S. Pietro, albeit in a not exact way, since a satellite perspective distortion is less likely.
In fact, the splitting that from the circle One, creative, as it is governed by the triangle, generates the duplicity, regulated by the triangle at the centers and intersection points, as well as, at its horizontal center, by the same
√3 – i.e.
AB = 1 – and with it the polarity of positive and negative, Yin and Yang (or Ying Yang) is regarded as the sourcefather/mother, of all immanent forms,
and these brief passages already seem to confirm it; it is essential to note from this intertwining and for semantic coherence, how it is generated by the triangle, to then give life or substance to the square.
Not to mention that through appropriate grids obtained from its essential intersection points, and always according to the initial rules, it will allow you to geometrically measure the square roots of the numbers from 2 to 10!
In practice, the connection between the first two circles is reproduced in two others, giving rise to a second Vesica Piscis around
CAB, pivoted at 90° on one of their meeting points,
C in our figure below, which allows you to trace the inscribed equilateral triangle, without having to extend
AB up to
It remains to point out what is probably the most significant evolution of the pivotal figure of two circles which, with the horizontal addition of a third circle centered on the circumference of the 2nd and symmetrical at the 1st, placed in a repeated rotation of 60°, develops in any direction the so-called
'Flower of Life'
From the metaphysical bladder to the fish
With the lateral extension of the two minor arcs until they meet the two lower vertices of our square – giving rise to those arcs of a circle that underline the π – the swim bladder is equipped with the tail that completes the profile of that 'fish', taken from the beginning as symbol of Christianity and called "Ichthys", that was "fish" in the ancient Greek, which became the acronym that concealed:
"Iesus Christos Theios Yios Soter" ie "Jesus Christ Son of God the Savior ".
An attribute which, moreover, in terms of the precession of the equinoxes, echoes the past 2000 years for the corresponding zodiacal era of Pisces.
Just examine the figuration, both in its ideographic form: and descriptive:, to realize the symbolic coherence, representative of what we are studying.
It should be noted that unlike the font reproduced here, in the classic iconography the two fish are connected by a double fishing line, or in any case by a sort of belt, a concept respected by the symbols albeit with a simple trait d'union, but almost completely ignored, by those illustrators who probably would not know hy to deal with it.
An apparent nonsense, that instead the explanation has it!
Here is a tiny survey captured from the web, rare though:
It is therefore that square in its position that gets actual the great potential of the symbol for the Christian era.
Also relevant from the same diagram is the all too unnoticed result of the equilateral triangle
The framework revealed here guarantees its direct and immediate feasibility in an exclusive way, a much more laborious project to be carried out differently, even without following the standard proposed here; which seems to justify the proliferation of freehand drawings.
CYT, here originating from Vesica Piscis, whose side inscribed in the circle of radius
1 is the square root of 3.
As if to say that the side of such a triangle is equivalent to the side of a square with area
3, a way that highlights how the science of numbers closely evokes the geometry and metaphysical implications of the square.
In general, the side of an equilateral triangle inscribed in a circle always has value
√3×r and its height is
Indeed, it could be noted at this point that each of the arches measures 150 °, not far from the much argued number 153, which even in the Gospels [John ¶ 21:11] is mentioned as the number of fish in the net, for a miracle wanted by Jesus . Although it is not my intent to embroider on the remarkable mathematical virtues of 153, I cannot but stop to suggest to the researchers that a specular measure of 150 (whose numerological sum is 3, from 1 + 5 + 1 + 5), therefore interwoven and unified from a triple 3, said sum = 3, the square root of 3 and the carrier triangle, can be considered integrated in the special case by the number 153.
The triangular bearing that dominates the scheme led me to further investigate the construct, and here emerges an even more stringent solution made up of, and dedicated to only three circles, capable of creating and containing the same inevitable square in double order.
In fact, the base of the major equilateral triangle has suggested it, intersecting at the point
X the third circle centered on the intersection of
AB (center of the whole figure); but in reality only as the result of a compositional graphic analysis which, although not practicable with a ruler and compass, being ideally educational under the symbolic profile, deserves to be focused.
As the diameter of the 3rd circle, passing through
CY intersects in
Y the 1st circle [centered in]
A, so the diameter of this, passing through
AX for the parallelism demonstrated by the symmetry of the two circles, meets in
X the central circle where
AB/2, to extend to
E which joins
D at the bottom of circle
It follows that the circle
B develops the triangular symmetry that gives us the perpendicular to
AB as the vertical diameter of the circle
A, therefore the sides of the double square below and above, as well as the symmetrical ones on the opposite circle.
To be honest, I can't say which of the two pearls is the most precious, to demonstrate the square~circle symbiosis that I have set for myself.
I dare say that if the former illustrated a sort of gestation of the square, centered on the quaternary, the latter represents its double conception by reflection of the ternary; and that is precisely why I have intended to illustrate it.
Both cases disclose in a profound means the procedure suited for certifying the geometric and esoteric sacredness of the Vesica Piscis – emblem of the creative process – and of Ichthys, beyond the more or less improvised and fashionable gadgets.
At this point, however, a rigorous distinction is required: while the first solution – processed in the figure on the side – presents all the steps for the theoretical tracing, of the second it is not feasible to trace the 3rd circle, lacking any reference to the point to which the compass should be extended, once placed on the new center.
Even if the rule of a fixed radius of the compass was stated from the beginning, using it ad hoc could contradict the canons of normal practice; however, I would not exclude that this contributes to enhancing the transcendental character of formation.
32 + 42 = 52
While not neglecting the fact that the square is the native casket of the Golden Section, to highlight which I had drawn the concave and convex pentagon by combining Φ and φ, the solution of the Pentagon could not be missing that integrated the assumptions just stated with equal elegance.
It has been solved, thanks to the 3rd circle with center in
Y, from whose intersections
D crossing the x we reach the vertex~centers
G and from these to the vertex of the pentagon naturally with five circles.
But that is not all. Even if four would be enough if you prolong the
YC until it intersects a fourth circle at the point w, I don't stop there, being able to obtain a star that almost builds itself, and that from concave it defines the convex direction, one more time with only three circles.
D of the 3rd circle crossing the point x reaches the 1st circle in
E, from which the segment
EB – which is already one side of the star – intersects the 2nd circle (center in
B) at the point e, which in turn allows you to extend
Ae up to the apical point w and join two other sides to
G, I let you choose how …
It is appropriate to specify that, in astrological symbolism, the two forms of the pentagon are synonyms of mediation, transformation, evolution: the convex one is creativeand creative, the concave is destructive or substitute.
At the conclusion of what we have seen, the rigor procedure proposed at the beginning, despite having always found its implicit solution for the triangle, and in more than one way known applications for the pentagon, had never encountered answers for the square, remained the object of easy as well as superficial constructs, regardless of its most emblematic and universal implications, cornerstones of reality at every level of study and knowledge.
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