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37 Fig. 25: Application of the eight Ratios of Divine Harmony to a New Kingdom brooch (above) and to the body of the goddess Nut from the Ptolemaic Dendera Zodiac (below) according to Fournier des Corats (from Proportion e´ gyptienne, figs. 37 and 48). Fig. ) Fig. 26: Application of the eight Ratios of Divine Harmony to some columns of the temple of Amon at Karnak according to Fournier des Corats (from Proportion e´ gyptienne, fig. 41). In search of ‘the rule’ Fig. 27: Pillars 1:2, 1:4, 1:8 and prismatic pillar according to Badawy (from Architectural Design, figs.

Kielland analysed a number of statues and reliefs and claimed to have found that they were all designed according to the Golden Section. Quoting Ghyka, she optimistically concludes that ‘the ␾-proportion was highly esteemed by the Pythagoreans, whose dependence on the Egyptians is well known. 20 One of the most famous theories on the proportions of ancient Egyptain architecture and art is that suggested by Schwaller de Lubicz. He believed that the Egyptian canon for the representations of the human body depended on a system based on musical harmony, ␲ and ␾, in which horizontal guide-lines marked the position of specific anatomical points of the body.

19) and a rough sketch of the pyramid of Khufu (fig. 19 Over a century later, Else C. Kielland analysed a number of statues and reliefs and claimed to have found that they were all designed according to the Golden Section. Quoting Ghyka, she optimistically concludes that ‘the ␾-proportion was highly esteemed by the Pythagoreans, whose dependence on the Egyptians is well known. 20 One of the most famous theories on the proportions of ancient Egyptain architecture and art is that suggested by Schwaller de Lubicz.

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