Testing the aesthetic significance of the golden-section rectangle.

Abstract

The aesthetic significance of the golden-section rectangle was tested in two studies designed to obviate some of the criticisms of earlier experiments. In the first, employing the method of use, the mean sides-ratios of samples of paintings from five subject-matter categories (landscape, still life, head-and-shoulders portrait, upper-body portrait, full-length portrait) provided no evidence for the significance of the golden section. However, the sides ratio of portraits varied between categories in ways that were consistent with the requirements of the proportions of the subject matter. In the second study, using the method of production, participants produced the most pleasing four-sided shape, under four instruction conditions. Under a 'portrait painting' condition and a 'landscape painting' condition, the mean sides-ratios differed significantly from the golden section. Under two 'context free' geometric shape conditions--horizontal rectangle and vertical rectangle--the mean sides-ratio approximated the golden section. The results are discussed in terms of the methodological requirements for a valid test of the aesthetic significance of the golden section and the possibility that this ratio may indeed have special significance.