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Vermeer Lady Standing at the Virginals |
ENLARGED HEXAGRAM |
STEP 4: At this stage of development we can see that the original bowstring line A—1 is part of a hexagram, an important constituent of the Grail Geometry. To arrive at STEP 4 from STEP 3, a circle is drawn around the first triangle: A—V1—V2. A second triangle: VH1—VH2—VH3 is then added to complete the Hexagram. We can see that Vermeer employed this second triangle to guide his composition.
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STEP 4 (continued) Note the circled confirmations including the exact center of the hexagram, which falls on the white line on the picture frame. That is – to put it more precisely -- Vermeer carefully painted (on the canvas) the white line on the picture frame so as to fall on the exact center of the hexagram (on the geometric layout sheet !). Indeed, all the features mentioned as “confirmations” in this website are features that the artist positioned in precise registration with selected nodes, angles, and lines of the Titled Triangle, the Tilted Square, the Hexagram(s), and The Grid of The Grail Geometry -- on separate layout sheet(s) -- as compositional guides and constraints. The artist was using a then-secret "treasure-map" pattern to achieve arresting compositions -- and to make a religious statement (see the book "Vermeer's Riddle Revealed: The SPHINX, The JESTER, and The GRAIL GEOMETRY", by Robert A. diCurcio). Further analysis of this painting may be found in Robert A. diCurcio’s book “VERMEER’S RIDDLE REVEALED”. In my book I have demonstrated that Vermeer used three different hexagrams (of which the one exhibited above is just one of those three). ^Back to Top^ |
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