Paolo Di Pasquale
Paolo Di Pasquale is an Italian Lighting Designer who has been creating artistic performances in the fields of Theater, Musical Production, and numerous international events for over 40 years.
https://pdpseven.wixsite.com/sound-color
He has served as the director of photography for various World-Vision Television Broadcasts, for Italian RAI, for United Nations, and the FAO.
For the WHITE HOUSE Communication Agency, he has managed the photographic image of two U.S. Presidents, Bill Clinton and George W. Bush, during several annual G7 and G8 Summits.
Among his most significant architectural lighting works, he is the Light Designer for the historic Quirinal Palace, the residence of Popes, Kings of Italy, and currently, the Presidents of the Republic.
In parallel with his work, he is a researcher in applied mathematics related to oscillations and waves, using them to blend sounds and colors in artistic performances.
Ancient history and Leonardo's drawings have always captured his acute curiosity, making him a scholar over the years. He has published several articles on the mathematics and geometry of ancient Egyptians.
https://pdpseven.wixsite.com/sound-color
He has served as the director of photography for various World-Vision Television Broadcasts, for Italian RAI, for United Nations, and the FAO.
For the WHITE HOUSE Communication Agency, he has managed the photographic image of two U.S. Presidents, Bill Clinton and George W. Bush, during several annual G7 and G8 Summits.
Among his most significant architectural lighting works, he is the Light Designer for the historic Quirinal Palace, the residence of Popes, Kings of Italy, and currently, the Presidents of the Republic.
In parallel with his work, he is a researcher in applied mathematics related to oscillations and waves, using them to blend sounds and colors in artistic performances.
Ancient history and Leonardo's drawings have always captured his acute curiosity, making him a scholar over the years. He has published several articles on the mathematics and geometry of ancient Egyptians.
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Papers by Paolo Di Pasquale
A second superimposition performed with a 28x28 grid, allows us to clarify the role of the 1/14 proportion introduced by Leonardo, necessary to reduce the height of the upright man in order to fit him in the circle. This proportion also turns out to be the key to demonstrating the geometric equivalence that has emerged between the drawing of Vitruvian Man and Folio 307 V of the Codex Atlanticus.
Finally, the proportion of 1/14 was fundamental in tracing the Divine Proportion that Leonardo incorporates in the relationship between the position of hands and feet of the man in the circle.
currently kept in the Saqqara Imhotep Museum under code JE50036, with the arch of the blue faience
tiles panel created during the reign of Djoser under the step pyramid, and currently on public display in
the Egyptian Museum in Cairo under code JE68921.
Applying an equidistance of 41 fingers to the intervals between the vertical lines of the ostracon
diagram, the generated curve is a part of the circumference of a circle.
Digitally analyzing the curve of the arch supported by the 11 Djed pillars of the blue faience tiles panel,
this curve is also a part of the circumference of a circle.
The size and position of the blue faience tiles arch in relation to its panel, highlights a direct and
unambiguous proportionality with the arch generated by the ostracon diagram.
There is also a relationship of magnitude between the two arches taken into account. In fact, the size
of the one made on the panel is exactly 1/4 of the size of the arch developed with the diagram of the
ostracon.
As well as the grid formed by rectangles, described on page 7 is a classic Egyptian method with which it is possible to indicate in scale the location of the entrances of the corridors leading to the inner chambers.
That' one of the reason why more than 4500 years ago, at the edge of the Dhashur desert, Pharaoh Snefru intended to create an impressive architectural work of extreme beauty, making it a witness to the high scientific thought reached at that time by Egyptian Architects.
Coming Soon
But since there were no algebraic formulas at the time of the Pharaohs, a simple grid-based procedure was developed such as those used by the Egyptians to reproduce the scale drawings, to try to decipher the geometric meaning of the curve drawn on the find.
To conclude, this simple process permits to understand that the five hieratic values of the Saqqara Ostrakon describe a segmental arch whose span and rise correspond to the architectural proportions of several Egyptian tombs and arches, and that the numerical sequence of the artefact could be considered the most "ancient" mathematical formula of the circle.
Papyrus'1 is incorrect. Eric Peet, in the first two lines confuses the Cubit Strip believing they were Cubits-of-Lands, while in the fourth line confuses 1 Thousand of Land with 10 Cubits of Land.
For this reason its results are wrong, and does not correspond to what the Scribe indicated in the
RMP 54.
Problem 56 shows which are the calculation procedures to obtain the Seked (in palms) in relation to a cubit of 7 palms. In this first problem a pyramid is drawn with double lines next to the description, different from those related to the following four problems that don't have the double line on the sides but only on the base.
The four problems 57, 58, 59 and 59B all refer to the Seked of 5+1/4 which reproduces a right-triangle with the same proportions as the Pythagorean Triple 3-4-5.
In fact in RMP 57 and 58 the right triangle has a base 70 which is at its height 93+1/3 as 3 is at 4. In RMP 59 and 59B is indicated the right triangle with base 6 and height 8 whose hipotenuse corresponds to 10.
These right triangles with Pythagorean Triple 3-4-5 also correspond to the measurements of the Khafre's Pyramid which has a seked of 5+1/4 since the base is 215.5m. and the height should be 143.5m.
In this article we analyze the Planimetry of Bent Pyramid drawn up with the measurements indicated by Sir William F. Petrie in 1887.
Focusing on its geometric dimensions, it can be said that this monumental work of great mass and grandeur, combined with the meticulous choice of distances between the elements that make up the Pyramid Complex, also represents the will of Snefru's Architects to pass on to posterity the essence of the «Egyptian Mathematical System»
Nel focalizzare le sue dimensioni geometriche si puo’ affermare che questa monumentale opera di notevole massa e di grande imponenza, unita alla meticolosa scelta delle distanze tra gli elementi che compongono il Complesso Piramidale, rappresenta anche la volonta’ degli Architetti di Snefru di tramandare ai posteri l’essenza del «sistema matematico» egizio.
As well as the grid formed by rectangles, described on page 7 is a classic Egyptian method with which it is possible to indicate in scale the location of the entrances of the corridors leading to the inner chambers.
That's one of the reason why more than 4500 years ago, at the edge of the Dhashur desert, Pharaoh Snefru intended to create an impressive architectural work of extreme beauty, making it a witness to the high scientific thought reached at that time by Egyptian Architects.
But since there were no algebraic formulas at the time of the Pharaohs, a simple grid-based procedure was developed such as those used by the Egyptians to reproduce the scale drawings, to try to decipher the geometric meaning of the curve drawn on the find.
To conclude, this simple process permits to understand that the five hieratic values of the Saqqara Ostrakon describe a segmental arch whose span and rise correspond to the architectural proportions of several Egyptian tombs and arches, and that the numerical sequence of the artefact could be considered the most "ancient" mathematical formula of the circle.
A second superimposition performed with a 28x28 grid, allows us to clarify the role of the 1/14 proportion introduced by Leonardo, necessary to reduce the height of the upright man in order to fit him in the circle. This proportion also turns out to be the key to demonstrating the geometric equivalence that has emerged between the drawing of Vitruvian Man and Folio 307 V of the Codex Atlanticus.
Finally, the proportion of 1/14 was fundamental in tracing the Divine Proportion that Leonardo incorporates in the relationship between the position of hands and feet of the man in the circle.
currently kept in the Saqqara Imhotep Museum under code JE50036, with the arch of the blue faience
tiles panel created during the reign of Djoser under the step pyramid, and currently on public display in
the Egyptian Museum in Cairo under code JE68921.
Applying an equidistance of 41 fingers to the intervals between the vertical lines of the ostracon
diagram, the generated curve is a part of the circumference of a circle.
Digitally analyzing the curve of the arch supported by the 11 Djed pillars of the blue faience tiles panel,
this curve is also a part of the circumference of a circle.
The size and position of the blue faience tiles arch in relation to its panel, highlights a direct and
unambiguous proportionality with the arch generated by the ostracon diagram.
There is also a relationship of magnitude between the two arches taken into account. In fact, the size
of the one made on the panel is exactly 1/4 of the size of the arch developed with the diagram of the
ostracon.
As well as the grid formed by rectangles, described on page 7 is a classic Egyptian method with which it is possible to indicate in scale the location of the entrances of the corridors leading to the inner chambers.
That' one of the reason why more than 4500 years ago, at the edge of the Dhashur desert, Pharaoh Snefru intended to create an impressive architectural work of extreme beauty, making it a witness to the high scientific thought reached at that time by Egyptian Architects.
Coming Soon
But since there were no algebraic formulas at the time of the Pharaohs, a simple grid-based procedure was developed such as those used by the Egyptians to reproduce the scale drawings, to try to decipher the geometric meaning of the curve drawn on the find.
To conclude, this simple process permits to understand that the five hieratic values of the Saqqara Ostrakon describe a segmental arch whose span and rise correspond to the architectural proportions of several Egyptian tombs and arches, and that the numerical sequence of the artefact could be considered the most "ancient" mathematical formula of the circle.
Papyrus'1 is incorrect. Eric Peet, in the first two lines confuses the Cubit Strip believing they were Cubits-of-Lands, while in the fourth line confuses 1 Thousand of Land with 10 Cubits of Land.
For this reason its results are wrong, and does not correspond to what the Scribe indicated in the
RMP 54.
Problem 56 shows which are the calculation procedures to obtain the Seked (in palms) in relation to a cubit of 7 palms. In this first problem a pyramid is drawn with double lines next to the description, different from those related to the following four problems that don't have the double line on the sides but only on the base.
The four problems 57, 58, 59 and 59B all refer to the Seked of 5+1/4 which reproduces a right-triangle with the same proportions as the Pythagorean Triple 3-4-5.
In fact in RMP 57 and 58 the right triangle has a base 70 which is at its height 93+1/3 as 3 is at 4. In RMP 59 and 59B is indicated the right triangle with base 6 and height 8 whose hipotenuse corresponds to 10.
These right triangles with Pythagorean Triple 3-4-5 also correspond to the measurements of the Khafre's Pyramid which has a seked of 5+1/4 since the base is 215.5m. and the height should be 143.5m.
In this article we analyze the Planimetry of Bent Pyramid drawn up with the measurements indicated by Sir William F. Petrie in 1887.
Focusing on its geometric dimensions, it can be said that this monumental work of great mass and grandeur, combined with the meticulous choice of distances between the elements that make up the Pyramid Complex, also represents the will of Snefru's Architects to pass on to posterity the essence of the «Egyptian Mathematical System»
Nel focalizzare le sue dimensioni geometriche si puo’ affermare che questa monumentale opera di notevole massa e di grande imponenza, unita alla meticolosa scelta delle distanze tra gli elementi che compongono il Complesso Piramidale, rappresenta anche la volonta’ degli Architetti di Snefru di tramandare ai posteri l’essenza del «sistema matematico» egizio.
As well as the grid formed by rectangles, described on page 7 is a classic Egyptian method with which it is possible to indicate in scale the location of the entrances of the corridors leading to the inner chambers.
That's one of the reason why more than 4500 years ago, at the edge of the Dhashur desert, Pharaoh Snefru intended to create an impressive architectural work of extreme beauty, making it a witness to the high scientific thought reached at that time by Egyptian Architects.
But since there were no algebraic formulas at the time of the Pharaohs, a simple grid-based procedure was developed such as those used by the Egyptians to reproduce the scale drawings, to try to decipher the geometric meaning of the curve drawn on the find.
To conclude, this simple process permits to understand that the five hieratic values of the Saqqara Ostrakon describe a segmental arch whose span and rise correspond to the architectural proportions of several Egyptian tombs and arches, and that the numerical sequence of the artefact could be considered the most "ancient" mathematical formula of the circle.