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2.  J. Vermeer  THE GIRL WITH THE WINEGLASS

(Girl drinking wine #1)

2 A)    The Tilted Equilateral Triangle

The Grail Geometry can resemble a spider's web as evidenced below in my analysis of "The Girl With The Wineglass".  The guidelines always radiate from the upper left quadrant of the painting -- "the Northwest Point" -- if the pattern is destined to be transferred to a map (as in the legend of the Holy Grail). The 75 -- 60 -- 45 pattern of lines is evident, with the 60 degree angle being that of the equilateral triangle A--V1--V2 that Vermeer obviously used here as a guide to his composition.

I have circled most of the obvious features of this painting that Vermeer positioned according to the geometric guidelines I have discovered. This is basically the same pattern that he used in all the other paintings I have analyzed.  Note how the entwined hands fall on the centerline of the triangle. The white collar of the man forms a bold, white arrowhead - pointing to the hands underneath the wineglass!

2 B)  The Hexagram and The Tilted Square

Building on the Tilted Triangle A--V1--V2 (see above) I have added the second equilateral triangle to make The Regular Hexagram and then I have built further, according to the rules of The Grail Geometry to obtain the associated Titled Square.

My effort was certainly rewarded!  Look at the encircled center of The Hexagram -- Vermeer has placed the man's white collar exactly there -- as a prominent white arrow pointing down to the hand holding the wineglass! The precision of the registration is stunning!

Look at the major diagonal line of the hexagram at POINT V2: it runs tangent to the forehead of the girl; tangent to the forehead of the suitor; and tangent to the forehead of the dejected rejected. Three foreheads in perfect alignment -- and the line is an important element of the Grail Geometry! Look at how the heads and other features of the composition are contained within the pie-shaped sectors of the inner hexagonal pattern. To say that this is mere coincidence or a forced contrivance is to be die-hard indeed.

The same is true for the diagonals of The Tilted Square -- they cross at the confluence of the white table cloth, the orange-red gown, the brown cloak, and the light-colored area on the girl's lap. (I have circled that area around the intersection.) Again the precise registration is quite remarkable. Imagine the hours of painstaking labor it took Vermeer to achieve this composition!

bobdic@comcast.net