The Tilted Triangle

This painting is also composed with the Grail Geometry as a guide. The equilateral triangle whose apex is point "A" is confirmed by no less than nine features painted intentionally as guided by the triangle shown superimposed on the reproduction: 1 – the sharp point silhouetted in the window; 2 – the intersection on the globe; 3 – the inside corner of the picture frame; 4 – the upper corner of the window pane; 5 – the intersection on the window;

The Compass Points . . .

6 – the tip of the window ledge; 7 – the corner of the book; 8 – the bottom corner of the picture frame; 9 – the tip of the little finger. Note how the Geographer’s right sleeve at the elbow is guided by the left side A-4-5-6-7 of the triangle .

It may seem strange that point A is on no discernible painted feature. This is typical of Vermeer. Note that the triangle goes outside the confines of the canvas. This is also typical of Vermeer’s work. Note the posture of the Geographer – he leans forward so that his body is generally parallel with the left side of the triangle. It is hard to deny that Vermeer used this triangle as a guide to composing his work.

Why this particular triangle and not another? The answer is that this is a Grail Geometry triangle. We shall see that a special square is built on this triangle according to the principles of this secret geometric pattern. Vermeer used this pattern and no other; he was devoted to the Grail Geometry, most probably because he learned it as a young artist in a secret society. This is likely, because nothing is known for sure about Vermeer’s apprenticeship.

The Tilted Square

Following the procedure of the Grail Geometry, the corresponding Tilted Square AMNO and its diagonals AN and MO are constructed to see if confirmations emerge.

One remarkable confirmation we see is exhibited by line 10: the Geographer is pointing with his drafting compass to his left hand (!) upon which the ‘X marks the Spot’ (PX) has fallen – just as it fell in the Astronomer painting!  Other confirmations are: at point 11 – a vertical aligned with the little column on the globe that points exactly downward to PX; 12 – where the bottom of the picture frame exits the canvas as guided by diagonal MO; and 13 – where the curtain and window pane corner come together on line AO.

The existence of these two Vermeer paintings, The Geographer and The Astronomer, considered by experts as a pendant pair, with their identical geometric patterns pointing in each case to the left hand, and in each case amply confirmed, can only lead to the conclusion that Vermeer knew and used the Grail Geometry to guide his compositions. This pattern was secret at the time, so the artist must have been taught to use it in his apprenticeship by a member of a secret society. There are those who believe that this society was called “The Priory of Sion”. Circumstantial evidence is therefore presented by these analyses that Vermeer could well have been a member of such a society -- in his birthplace of Delft, Holland– or wherever The Priory may have had its secret headquarters at the time.

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