It is unnecessary for us to discuss the intrinsic beauty of curves, or the mental satisfaction afforded by the golden section.
If it is not forced on us, we have, in either case, nothing to do with the golden section.
The division of a line at the golden section produces 'apparently equal differences' between minor and major, and major and whole.
There has been a great deal written upon the æsthetic features of the golden section.
The expression "golden section" is not old, however, and its origin is uncertain.
Starting with the golden section, we find the two lines representing the total averages running surprisingly close to it.
Besides, such an interpretation could not apply to divisions widely variant from the golden section.
Zeising and Wundt were alike in error in taking the golden section as the norm.
Investigators have confined their efforts to statistical records of approximations to, or deviations from, the golden section.
The ratio between two numbers a and b chosen such that the ratio of a to b is equal to the ratio of a+b to a. Its value is approximately 1.618. Shapes with proportions equal to the golden section are observed especially in the fine arts and in architecture, as between the two dimensions of a plane figure such as a rectangle. The ratio between consecutive numbers in a Fibonacci sequence approximates the golden section with increasing precision as the series progresses. Also called golden mean, golden ratio.