The

Golden Number

KAKHI Sara
RITTAUD Marine
Year : 2015/2016

I .Meaning : page 3
II. The Golden Number and
mathematics

III. The Golden Number in nature and

art

2
 I . Meaning

1)Definition

The Golden Number, or golden portion are the names of an

arithmetic ratio. The Golden Number is not a measure, nor a
dimension, it is a ratio of two length. Usually, the Greek letter
“phi” appoints the Golden Number. This letter pays tribute to
the Greek sculptor Phidias ( 5th century before Christ). Phidis
sculpted the Parthenon’s statues. This notation was introduced
by Theodore Cook in 1914. The actual name “Golden
Number” was introduced by a Romanian prince Matila Ghyka
who dedicated a hugh work.

Phidias

2) History

3
The definition of the golden number was in the past the metonic cycle.
The metonic cycle is a period close to nineteen years. What is
remarkable of the metonic cycle is that it is a common multiple of the
solar year and the lunar year. As a result every nineteen years the phases
of the moon return to the same dates (with respect to the movement of
the Earth around the Sun)
The metonic cycle become important at the Olympic Games. The range
of a given year becomes the golden number of the considered year.

II.What is the Golden Number ?

1)Golden segments
We consider a segment AB and we decide to define a point,
situated between A and B in order to have:

!" !#
=
!# !"

We transformed this relation by doing a cross product :

AB*MB=AM*AM

We know that MB=AB-AM so we have:

AB*(AB-AM)=AM*AM

⟺AB²-AM*AB=AM²

⟺AB²=AM*AM+AM*AB

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 ⟺AB²=AM(AB+AM)

We observe this data on figure 1.

We take a segment [BC], perpendicular to [AB] with a length of

[BC]=[AB]. We draw a circle with a diameter BC and center O, so
that the straight mine passing by A and O cut the circle at point M’
and N’.

We know that: AB²=AM’*AN’=AM

We can also write it like that : M’N’=BC=AB

AB ' =AM’(AB+AM’)

If we approach this expression and expression (2), we can deduce

that AM=AM’. In order to obtain point M, we just have to extend
on segment AB , starting from A a length equal to AM’. We find
!"
out that the point M can be perfectly define by the ratio and the
!#
calculation shows us that this ratio is equal to the golden number.

Let’s look on this:

(
We put AB = a and AM =
)

( (
So we have : a' = *(a+ )
) )
'
⟺𝜑 −𝜑−1=0

This equation has 2 roots (with opposite signs). The positive root
01 2
corresponds to point M : = φ. It corresponds to the value we
'
find previously.
04 2 40
The second root is equal to : = = −φ40
' )

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 This root corresponds in absolute value to point N (figure 1), when
!" 0
we define it starting from segment AB as we have =
!5 )
Now let’s extend starting from A on segment AB and it extension
to the right, a length AN equal to AN’. We can easily conclude that :
!" !"
= =φ
!# "5

Let’s care about on the double remarkable propriety of the ratio

represented by φ ; we can conclude that there is a relation between
AB , AM ∧ MB : AB = AM + MB . The sum of two of the
segments is equal to one segment of these three segments.

The condition 1 can also be written like that AM ' = AB ∗ MB

!" !#
because =
!# #"

⟺ AM ' = AB ∗ MB

The length of one these segments is the geometric mean of the

length of the two other segments. This double propriety is specific of
the golden number. We also notice that the four segments MB ,
AM , AB and AN (taken in this order) have their length forming
an increasing geometric progression with a reason equal to φ

1) Decagons and regular pentagons

Now we are going to proceed to a detailed analysis of the considered

polygons. Let’s focus on how the structure of these polygons are ruled
by the golden number.
AC OA
= =φ
OA OC

This figure represents a regular decagon convex ( AB side) and a

regular decagon ( AC side) inscribed in the same circle (center O)

>?
We observe that : =𝜑
@>

6
Commonly we would say that the golden number is the ratio of the side
of the starry decagon divided by the radius of the circumscribed circle
or the ratio of the radius of the circle divided by the inscribed convex
decagon.

Regarding to the figure 3, it represents a convex regular pentagon (side

AB) and a starry regular pentagon (side AC) inscribed in the same
circle.
>?
We can demonstrate that =𝜑
>A

Among the irrational numbers, the golden number keeps a priviliged

place because it is constantly present in the geometry of decagons and
regular pentagons. Let’s consider more particulary the stary pentagon in
other words the pentacle ( also known as pentalpha or pentagram). It
was even according to the Ancients, a universal symbol of perfection,
symbol of life, beauty or love… They also thought that it was a rallying
sign for Pythargorians. Therefor it was natural for artists to introduce in
their pieces a pentagonal shape. We also find the pentacle shape
scribed on some ancient currencies. We can see this kind of shape in
the rosette of some cathedrals or Gothic churchs, for example in
Amiens we can the pentacle on cathedral’s rosette. Nowadays it appears
on weapons,on the insignia of a few States and even on the insgnia of
some sects.

Convex pentagon

We have to acknowledge that two dispositions of the pentagon meet

each other : sometimes the apex situated on the vertical axis of the
figure is on the top ( the tip is pointing upwards), sometimes the tip is
pointing downwards just like the Amiens cathedral. To come back to
the construction of a regular pentagon, we have to know that in fact

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there is two types of regular pentagons. The most common is said
convex and the other ( in the shape of a Sheriff’s star) is called starry.

To find the golden number in a pentahon, whether it is starry or

convex, we just have to establish the ratio of one of its diagonals
divided by one of its sides. No matter which side or diagonal we take in
order to find the golden, since the definition of a pentagon learns us
that a pentagon has equal sides and equal diagonals. If we rely on this
figure we have :

AC AB
= =ϕ
AD BC

figure 2

Nevertheless, we can also mention that :

The only condition to qualify the ratio of the golden number on the
diagonal is that we have to draw two diagonals such as the adjacent
figure. Indeed, if we take as working area any diagonal of the pentagon,
we come to dividing the diagonal with a pentagon’s side. According to
"! !D
the adjacent figure, we have : = =ϕ
"D !E

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The regular pentagon is therefor a golden figure because the proportion
told « perfect » of the golden number is settled in each diagonal. What
is really intriguing, is that if we divide the pentagon such as figure 2,
three isosceles is thus obtained, which are in fact golden triangles.

3) Classical figures of golden number

The golden triangle

We can golden triangle an isoceles triangle which sides are in the

golden number ratio. Golden triangles have usually their angle at the
base measure 36° or 72°

The golden triangle and his silver triangles

The golden triangle behave itself just as the rectangle. The proportions
of the golden triangle are : a little side which relative value is 1 and for
the big sides φ.It’s acute. The silver triangles is composed of 2 little
side with a value of 1 beside 1 bigger side with a value of φ. It’s obtuse.
The golden triangle divided himself in a decreasing set of silver
F
triangles. The acute angle measures 36° ( ) and the obtuse angle
2
'F
measures 72° ( ). This figure is linked to the 5 symbols and the
2

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triangle corresponds the summit of a stary pentagram with five
branches.

The golden triangles has a spiral, which integrated itself to the

pentagram. The summits marked 1,2,3,4 etc. on the previous figure
ables us to draw circle arc which links itself to the next one.

The Golden Rectangle

A golden rectangle is a rectangle which format is equal to the golden

number.

Coincidence or esoteric will, we can find the golden rectangle on the

facade of the Parthenon in Athens.

H?
We have : =𝜑
HI

In fact the golden number corresponds to a ratio of lengths. We divide

a segment in order that the ratio of the bigger part on the smaller part
would be equal to the result of the previous ratio divided by the bigger
part. This ratio is the golden number present in a golden
rectangle.Therefore, in order to create a segment with a length equal to

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the golden, we start by drawing a ABC right-angled triangle in A which
0
the right-angled’s side measure one and . Then we extend the
'
hypotenuse’s length on the haft straight line AC) (below figure). We
can easily prove by using the Pythagorus theorem that the hypotenuse
2
measures and then the length AD of the rectangle ABED is equal to
'
the golden number. This rectangle is a golden rectangle.

This is the most


common
contruction of
what we call the

« golden

proportion ».

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The golden spirale

In order to build a golden spirale, first we build a golden rectangle in

which we build a big square of side the width of the rectangle. We
duplicate the operation in the remaining rectangle which is a golden
rectangle and so on… Then, we build quarter circle in the squares. The
spirale we obtain is very common : we can see in sunflowers, pine
cones, seashells, the disposition of the leaves or the petals of certain
plants.

Five branches Star

Let’s take a figure a little more complicated that the square, the five
sides polygon, the pentagon, the five branches Star.
The ratio of the length of the star’s branch ( pentagon’s diagonal)
divided by the length of the pentagon’s side also worths : 1,618 whether
phi.

4) Unknown figures of the golden number

Pentagram

The pentagram, in other words the figure composed by the five

diagonals of the pentagon, also includes multiple proportions of
extreme and medium means. These means can express itselves with
isoceles triangle which the sides’ length are the proportion of the
golden number. These triangles are called golden triangles. There is two
different types : the yellow one which have a base proportional to a and
two sides proportional to b; and the orange one which have a base
proportional to b and two sides proportional to a. The dark triangles
are similar to the lighter triangles of same colours, the proportion

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between the light triangle and the dark triangle is equal to the golden
number.

The oldest geometrical constructions of the Golden Number :

This old construction of the Golden Number uses the angles of a

different squares. We just have to draw the bisector of the double
square’s angle. The bisector

5) Fibonacci

The Fibonacci sequence owes its name to Leonardo Fibonacci. He

exposed his sequence in his work named Liber Abaci published in
1202. In his book,he described the growth of the population of rabbits.
He wrote : ”A certain man put a pair of rabbits in a place surrounded
on all sides by a wall. How many pairs of rabbits can be produced from
that pair in a year if it is supposed that every month each pair begets a
new pair, which from the second month on becomes productive?”. This

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sequence is strongly linked to the Golden Number. This number occurs
in the expression of the general term of the sequence. Inversely, the
Fibonacci’s sequence also occurs in the writing of the expression of phi
: we can find an approximate value of the Golden Number thanks to
the Fibonacci’s sequence. Two ratio of two consecutives term of the
sequence.
The Fibonacci’s sequence is a sequence of whole numbers in which
each term is the sum of the two previous terms. Usually, the sequence
starts by 0 and 1. It first terms are 0,1,1,2,3,5,8,13,21.

This renowned sequence is linked to the Golden Number. Indeed, we

0J '0 JQ
remark that = 1,625; = 1,61538; = 1,61904 … and so on.
K 0J '0
More we lead in the sequence, more the gap mitigates and more the
UVW YZ[[W\U ]^_YW`
ratio of the two consecutives number ( ) tend to the
UVW \_abbW\U ]^_YW`
value of the Golden Number : 1,61803…

6) Algebra

The Golden Number is a solution of the equation : 𝑥 ' − 𝑥 − 1 = 0.

We can prove it thanks to a Golden Rectangle with a width of 1. In this
case, the length is equal to the Golden Number. We can name it x. But
we have previously seen that the ratio of the length (x) divided by the
width (1) is equal to the ratio between the sum (x+1) and the length (1):

𝑥 (𝑥 + 1)
=
1 𝑥
If we multiply the two sides by x we have :
𝑥' = 𝑥 + 1
⟺ 𝑥' − 𝑥 − 1 = 0

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II.The Golden Number in nature and art

1)Architecture

The Dol-de-Bretagne Cathedral

This is the most didactic architectural example : this sixteenth century
cathedral has been entirely build according to the Golden Number
principles.

The ground plan of the cathedral shows us the Golden Number

proprieties.

Parthenon:

The Parthenon inscribed himself in a golden rectangle, in other words

the ratio of length divided by height is equal to the Golden Number.

The Kheops’s pyramid

The Golden Number also appears in the Kheops’s pyramid. Let’s

consider h=SH, b=SJ and c=HJ. We have ℎ' + 𝑐 ' = 𝑏 ' following the
Pythagoras’s theorem and according Herodote, who observed that 𝑆𝐻 '
is equal to HJ*SJ, therefore we have 𝑏𝑐 + 𝑐 ' = 𝑏 ' whether
Y j 0
𝑏 𝑏 − 𝑐 = 𝑐 ' or = k j Y4j 40
l

Y
Let’s consider 𝑠 = > 1, we transform this equation and we find 𝑠 ' −
j
𝑠 − 1 = 0. This equation provides the Golden Number. However we
op 0K2
can notice that the ratio = = 1,63 close to 1 + 5 would be
pq 00J,2
pq
different from the Golden Number. But the inverse = 𝑐𝑜𝑠 pqo would
oq
verify the divine proportion :

pq 0 ' '( 240) 240

= = = =
oq s 210 240 '

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2)Painting

Botticelli’s Venus

The Birth of Venus painted in 1485 is a didactic exposition of the

Golden Number, in which every element of the painting is organised
around the Venus’s navel.
Its dimensions, 172,5*278,5 cm represent the Golden Rectangle.
Indeed these dimensions precisely correspond the proportion. As we
have seen before a Golden Rectangle is a rectangle which the ratio of
the length divided by the width is equal to the Golden Number. Here
'tK,2
we have = 1,61 … and 𝜑 = 1,61 . These values are equal to two
0t',2
decimal places. Therefore we can say that this painting has been build
from a Golden Rectangle.

The character to the left and the character to the right also represents
Golden Rectangle. Indeed these characters inscribed themselves along
the Golden rectangles’ diagonals whose height corresponds to the
painting’s height. We can also draw two circles whose diameter
corresponds to the Golden Rectangle’s sides. The circle to the left
includes the character to the left and Venus and the circle to the right
includes the character to the right and Venus

The Sacrament of the Last Supper

The Sacrament of the Last Supper has been painted by Salvador Dali in
1955. The quotient of the painting’s dimensions is equal to the Golden
Number. In fact in a regular pentagon, the ratio of the diagonal divided
by one side is equal to the Golden Number. Dali organises the
composition of the subject around several straight lines starting from
Christ’s head to sideways and the painting’s corners : the leakage paths
lead towards the leak point which is Christ’s head. The Christ’s head is
in the middle of the painting, and in the intersection of the rectangle’s
diagonals. This painting aims at showing a absolute harmony.

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3)Nature

In the nature, we can frequently find designs based on the Fibonacci’s

sequence and on the Golden Number. It seems that the mathematics
are present even in the nature. Indeed we can fin these proprieties in :

−𝑠𝑢𝑛𝑓𝑙𝑜𝑤𝑒𝑟𝑠
−𝑝𝑖𝑛𝑒𝑐𝑜𝑛𝑒𝑠
−𝑑𝑎𝑖𝑠𝑖𝑒𝑠
−𝑝𝑖𝑛𝑒𝑎𝑝𝑝𝑙𝑒𝑠
−𝑐𝑎𝑐𝑡𝑢𝑠
−𝑠𝑡𝑎𝑟𝑓𝑖𝑠ℎ𝑒𝑠
−𝑐𝑦𝑐𝑙𝑜𝑛𝑒𝑠
−𝑔𝑎𝑙𝑎𝑥𝑖𝑒𝑠

We can find the Golden Number through the Golden Spiral. We can
identify spirals in cyclons like the polar cyclons offshore the Island in
the adjacent picture thus in the shape of few galaxies. The spiral is not
always linked to the Golden Number, but we can easily approximately
draw it in a Golden Rectangle with circular arcs inscribed in slotted
squares.

The pinecones show clearly the Fibonacci’s spiral : eight green in one
direction and thirteen red in another direction. Eight and thirteen are
two consecutives terms of the Fibonacci’s sequence : 1;1;2;3;5;8;13
The scales are line up according to the Fibonacci’s spiral : we can
represent four scales’ corners of the pinecone by points. When we link
these point, we obtain spirals turning to the right and to the left. The
number of the spirals to the right and to the left are two consecutives
terms of the Fibonacci’s sequence. Each point belongs to two spirals.
The number of points on each spirals also are two terms on the
Fibonnaci’s sequence. When we link all the points to a single spiral, the
angle between the consecutives point is the golden angle.

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We frequently find the logarithmic spiral in the composition of some
flowers’ seed, in snails’ shell. In the sunflowers, its seed are allocated in
the spirals which go to the border starting from the middle. We can
conclude that :
−𝑠𝑝𝑖𝑟𝑎𝑙𝑠 𝑎𝑟𝑒 𝑙𝑜𝑔𝑎𝑟𝑖𝑡ℎ𝑚𝑖𝑐
− 𝑡ℎ𝑒 𝑛𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑠𝑝𝑖𝑟𝑎𝑙𝑠 𝑖𝑛 𝑡ℎ𝑒 𝑐𝑙𝑜𝑐𝑘𝑤𝑖𝑠𝑒 𝑑𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑛𝑢𝑚𝑏𝑒𝑟 𝑜𝑓
𝑠𝑝𝑖𝑟𝑎𝑙𝑠 𝑖𝑛 𝑐𝑜𝑢𝑛𝑡𝑒𝑟𝑐𝑙𝑜𝑐𝑘𝑤𝑖𝑠𝑒 𝑑𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 𝑎𝑟𝑒 𝑠𝑢𝑐𝑒𝑠𝑠𝑖𝑣𝑒 𝑡𝑒𝑟𝑚𝑠 𝑜𝑓 𝑡ℎ𝑒
Fibonacci’s sequence

Vitruvian Man

This masterpiece of Leonardo Da Vinci refers to the length
measurement used by the architects of the time. These measures
follow a progression linked to the Fibonacci’s sequence ( a
number equals to the sum of the two previous number), the ratio
of one term of the sequence divided by the previous term
approaches the Golden Number as we advance in the sequence.

U¤Uab VWZ[VU
If we look the ratio and the
¥Z\Ua]jW YWU¦WW] UVW [`¤^]¥ a]¥ UVW ]a§Wb
¥Z\Ua]jW YWU¦WW] UVW [`¤^]¥ a]¥ UVW ]a§Wb
ratio is equal to the
¥Z\Ua]jW YWU¦WW] UVW ]a§Wb a]¥ UVW U¤¨ ¤© UVW \ª^bb
Golden Number.

4)Music

Bela Bartok : Music for cords,percussions,celestas

The music written for chords, percussions, and celestas by Bela
Bartok in 1936 show that this artist was very attached to the
Golden Number. Let’s look to how the different instruments
entries in the fugue :
−the first and second viola enters at first bar
−the third and fourth violon enters at the 5th bar
−the first and the second cello enters at the 8th bar
−the second violon enters at the 13th bar
−the bass enter at the 18th bar
−the first violon enters at the 27th bar

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−the kettledrums enter at bar 34

Thus, the most of the instruments enter at bars which correspond
to the terms of the Fibonacci’s sequence. However, the bars 2,3
and 21 are missing. Bartok has not forget them. Indeed, at bars 2
and 3, the violas announced the second and third phrases of the
theme. Moreover, the 21st bar scores the end of utterance played
by the cellos.
Pratical reasons can explain the entry of the first cello and the first
violon at the 18th and 27th bar. Indeed, more we advance in the
Fibonacci’s sequence, more we have to wait for a new instrument.
Bartok has decided to subdivide the sections delineated by the
Fibonacci’s number.
For instance, between the thirteenth bar and the twenty-first bar,
we count eight bars. The composer has decided to divide this
interval in a group of three bars and in a group of five bars : three
and five are two successive term of the Fibonacci’s sequence. We
can now understand why the cellos enter at the eighteenth bar.
Likewise , between the thirteenth bar and the 21st bar, there si
twenty-one bars, which can be divided in 2 groups of 14 and 7
'
bars. The ratio of 14 divided by 7 is to . Two and one are two
0
terms of the Fibonnaci’s sequence. We can now understand the
entry of the first violon at the 27th bar.
We can also point out that the first movement of the masterpiece
included eighty-nine bars and the top of this movement is at the
55Th bar. 89 and 55 are two terms of the Fibonacci’s sequence.
We can conclude that Bartok has been inspired by the Golden
Number.

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