The
Tri-balance's four points, in combination with
the point I, set up a
triangle, from a five-pointed star,
or a pentagon. This
kernel
belongs to a larger position below, which
involves fully two-thirds
of the Frame's points.
Six points in a row, A, B, C, D, E, F
participate
in a mutual pentagonal
angle arrangement. We see an array
of five lines radiating
from the I-point, to which the line
through C-F gives an
actual body. The arrangement has a completely
artificial character.
It is a perfect mini-order.
Since C-F subtends the Tri-balance, the critics must wonder, if the instrumental Tri-balance from the previous chapter is about to become intolerably sophisticated, and hyper-persuasive, as to having been deliberately conceived, by playing an important function on a deeper level of this latest scheme .
To
complete the star set out by this array, we
extend lines C-F, and
I-H, so that they meet at the vertex marked
here as 1.
Next, we divide the angle C-1-I in two, by a line
ending
in vertex- 2.
As
is, the segment 1-2 represents one arm of
a five-pointed star incorporating
the Tri-balancekernel, where segments
between the points
I-1, and I-2 are sides of the corresponding
pentagon.
Certainly,
this position is not random, because
of the systematic angles,
but what about the distances between
the points? Being of
unequal length, are those distances random?
For immediate answer
press Continue
, but I suggest
checking the documentary gifs
below, as well, which
are scanned in directly from originals. To fit on
a diskette, the
scans had to be in black & white, and
so
I drew the lines over
in color, and that accounts for some
roughness,
however the
original lines were accurate to the pixel..
Down to the Pixel
As is, the study above
seems to involve every
Frame point with the
exception of the two points (K, L) at the
lower right corner, on
what I perceive as a fire/water symbol. All
the angles held between
the color lines are also found on a five-pointed
star.
A
good indication that all these Golden Section
angles were meant
exactly as we find them is the harmonious
passage of the angle
lines through the engraved image. The
lines c, d, e, f, and
g do so to an especially good effect.
To see this harmony, the
reader has to follow each line along for
him/herself.
The idea repeats
The same idea repeats from
the very next point
down. The Frame-point
J creates the same angles with
some of the same
Frame-points, as the I-point.
i-star4.gif
If we complete the triangle from i-star0.gif, (based on Tri-balance's points working with the point I) into a five-pointed star, we obtain the big blue star from the above diagram . This is a perfectly legitimate transformation , in that it is the next step in a logical course of realising the geometric potential of the position.
The Deeper Significance of Point - C:
The Tri-balance's point C performs the
Golden Section
on the distance C' -
D', yielding the Phi ratio.
Therefore, a 5-pointed star based upon the
distance
between points 1 and C
integrates perfectly into the
position of the big blue
star, and therefore it integrates with the
color triangles from the "i-star1.gif" from the previous section. We
must emphasize that this is in no way forced, as the point C
can slide closer, or further away from the point 1.
In any such event (of shifting C),
the red three-point
circle (points C, 1, I) will not be a tangent to the blue
pentagon's side I-2-A, nor will it center upon one tip of the smallest
blue star, as it does now, and neither will the smaller red
star's horizontal arm unite with the smallest blue star's
horizontal
arm, etc.
Point - E:
Thiis point lies on the blue star, as well as on the red star. It is a triple intersection in the diagram.
Segment H - I:
One of the red star's points divides the segment H - I in two halves. I daresay, H - I must be directly related to this system.
Point - B:
Check the diagram for proof that the point-B
is
also integrated into
the system.
*
Most of the points we've
seen signal the 'Grand
TriHex', inclusive of
the whole Tri-balance, are now involved
in a new system, dealing
with a unique five-pointed star, and
its grid. These points
rest upon the TriHex hexagons, as
well as upon the
five-pointed star's grid.
The Frame-points are set in such unique
position
- key to so many regular figures ( we haven''t yet seen them all), that
we may liken the Frame to a master-key (in a geometrical sense).
It is nauseating
that quasi-skeptics propose
that such a key can be cut randomly, and with ease.. Their
blasphemies pass the media unopposed by those standing on the
cathedra of authority, who watch the situation with amusement,
tacitly lynching reality - the s.c. Lost Science
of the prehistoric times.
Visual Proof
The
main purpose of the above and below diagrams
is to document
that the Frame-points A, B, C, D, E,
F, H, I,
do indeed fit the exact
CAD design superimposed over both bitmaps. Each bitmap was obtained
independently from an undigitized
copy of the image.
Of course, no scan equals the original. In this regard, it is
instructive that while I was able to draw visually accurate angles
(using a pencil, a protractor and a ruler) over an undigitized copy of
the engraving, scanning the whole thing later ( istar,
and jaystar2)
- the same points in the two scanned
versions produce slightly less accurate angles. Still, the
results are more than satisfactory.
We may infer that the original engraving should produce the most
accurate geometry..
Because the Frame points fit a number of exact
designs, it is
self-
evident that all these exact designs are interconnected. What my
research has not yet uncovered, is how to derive the Frame points
from the Cone & Square formation. However, judging by numerous
indications, I am quite confident that sooner or later this information
will become available, as well.
The high degree of formal harmony between the star structure,
and the image's lineart is clearly evident in the above gif. Of course,
we may develop the structure in more detail, and inspect the lineart
under a greater magnification like in the diagram below.
In many cases, we see the
star-lines running
the same course, as
the image-lines, or delimit each
other's boundaries.
A strong example of such improbable
passage is given by the
C-F segment:
In the undigitized copy of the image in my
possession
- the C-F
segment passes through the vicinity
of eleven
points. Thus it has
eleven chances to catch a point on
another line.
Since there are many more chances to miss, especially since the line
moves through the thin periphery - we would expect
that
it might connect several points, at best. Instead,
the C-F line finds ten
points out
of eleven possible!
*
The C-F segment subtends the Tri-balance, which we have
seen fulfil a whole
series of crucial roles in the Frame chapter.
Once again, we must elevate our
estimate of the Tri-balance's
importance. The
Tri-balance manages to
overcome long odds, time and again, and acquire an intensely artificial
character.
(Figuratively
speaking, we
move its standard from the world record
mark
on the pole vault
an inch higher. From this level, spontaneous
cases
of order in art appear
like dachs-hounds playing Frisbe.