“Now the sole reason why painters of this sort are not aware of their own error is that they have not
learned geometry, without which no one can either be or become an absolute artist.” –Albrecht Durer

Geometry is the armature of nature and the scaffolding of aesthetics. As an eternal language, it exists concurrent with all of creation and predates its own use. Dealing solely with archetypal forms, geometric concepts operate in a domain outside time or matter, belonging to a set of nonphysical truths that govern physical things and measure the intangible relationship between tangible things.
Therefore, geometry is the qualitative measure of quantitative things, being the idea-form of nature. Further, as both a language of measure and a language of symbolism, sacred geometry is also the quantitative measure of qualitative things, being the form-idea of art. 
It is therefore the mean between the laws of the universe and the laws of aesthetics, justifying the claim that Classicism, the philosophy flowing from geometry, is the aesthetic as timeless as the cosmos, natural and sensible to any that have or yet will inhabit this universe. As such, we cannot commune with the ancients without delving into its mysteries, and we cannot ensure an audience into the eternities without employing its principles.​​​​​​​
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