In mathematics and the arts, two quantities are in the golden ratio if the ratio of the sum of the quantities to the larger quantity is equal to (=) the ratio of the larger quantity to the smaller one. The golden ratio is an irrational mathematical constant, approximately 1.6180339887.^{[1]} Other names frequently used for the golden ratio are the golden section (Latin: sectio aurea) and golden mean.^{[2]}^{[3]}^{[4]} Other terms encountered include extreme and mean ratio,^{[5]} medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut,^{[6]} golden number, and mean of Phidias.^{[7]}^{[8]}^{[9]} The golden ratio is often denoted by the Greek letter phi, usually lower case (φ).
The figure on the right illustrates the geometric relationship that defines this constant. Expressed algebraically:
This equation has as its unique positive solution the algebraic irrational number
At least since the Renaissance, many artists and architects have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing. Mathematicians have studied the golden ratio because of its unique and interesting properties.
Contents

List of numbers – Irrational and suspected irrational numbers γ – ζ(3) – √2 – √3 – √5 – φ – ρ – δ_{S} – α – e – π – δ 

Binary  1.1001111000110111011… 
Decimal  1.6180339887498948482… 
Hexadecimal  1.9E3779B97F4A7C15F39… 
Continued fraction  
Algebraic form  
Infinite series 
Two quantities a and b are said to be in the golden ratio φ if:
This equation unambiguously defines φ.
The right equation shows that a = bφ, which can be substituted in the left part, giving
Dividing out b yields
Multiplying both sides by φ and rearranging terms leads to:
The only positive solution to this quadratic equation is
The golden ratio has fascinated Western intellectuals of diverse interests for at least 2,400 years:
Some of the greatest mathematical minds of all ages, from Pythagoras and Euclid in ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to presentday scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics.—Mario Livio, The Golden Ratio: The Story of Phi, The World's Most Astonishing Number
Ancient Greek mathematicians first studied what we now call the golden ratio because of its frequent appearance in geometry. The division of a line into "extreme and mean ratio" (the golden section) is important in the geometry of regular pentagrams and pentagons. The Greeks usually attributed discovery of this concept to Pythagoras or his followers. The regular pentagram, which has a regular pentagon inscribed within it, was the Pythagoreans' symbol.
Euclid's Elements (Greek: Στοιχεῖα) provides the first known written definition of what is now called the golden ratio: "A straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the less."^{[5]} Euclid explains a construction for cutting (sectioning) a line "in extreme and mean ratio", i.e. the golden ratio.^{[11]} Throughout the Elements, several propositions (theorems in modern terminology) and their proofs employ the golden ratio.^{[12]} Some of these propositions show that the golden ratio is an irrational number.
The name "extreme and mean ratio" was the principal term used from the 3rd century BC^{[5]} until about the 18th century.
The modern history of the golden ratio starts with Luca Pacioli's Divina Proportione of 1509, which captured the imagination of artists, architects, scientists, and mystics with the properties, mathematical and otherwise, of the golden ratio.
The first known approximation of the (inverse) golden ratio by a decimal fraction, stated as "about 0.6180340," was written in 1597 by Prof. Michael Maestlin of the University of Tübingen in a letter to his former student Johannes Kepler.^{[13]}
Since the twentieth century, the golden ratio has been represented by the Greek letter Φ or φ (phi, after Phidias, a sculptor who is said to have employed it) or less commonly by τ (tau, the first letter of the ancient Greek root τομή—meaning cut).
Timeline according to Priya Hemenway^{[14]}.
Beginning in the Renaissance, a body of literature on the aesthetics of the golden ratio was developed. As a result, architects, artists, book designers, and others have been encouraged to use the golden ratio in the dimensional relationships of their works.
The first and most influential of these was De Divina Proportione by Luca Pacioli, a threevolume work published in 1509. Pacioli, a Franciscan friar, was known mostly as a mathematician, but he was also trained and keenly interested in art. De Divina Proportione explored the mathematics of the golden ratio. Though it is often said that Pacioli advocated the golden ratio's application to yield pleasing, harmonious proportions, Livio points out that that interpretation has been traced to an error in 1799, and that Pacioli actually advocated the Vitruvian system of rational proportions.^{[2]} Pacioli also saw Catholic religious significance in the ratio, which led to his work's title. Containing illustrations of regular solids by Leonardo Da Vinci, Pacioli's longtime friend and collaborator, De Divina Proportione was a major influence on generations of artists and architects alike.
Some studies of the Acropolis, including the Parthenon, conclude that many of its proportions approximate the golden ratio. The Parthenon's facade as well as elements of its facade and elsewhere are said to be circumscribed by golden rectangles.^{[19]} To the extent that classical buildings or their elements are proportioned according to the golden ratio, this might indicate that their architects were aware of the golden ratio and consciously employed it in their designs. Alternatively, it is possible that the architects used their own sense of good proportion, and that this led to some proportions that closely approximate the golden ratio. On the other hand, such retrospective analyses can always be questioned on the ground that the investigator chooses the points from which measurements are made or where to superimpose golden rectangles, and that these choices affect the proportions observed.
Some scholars deny that the Greeks had any aesthetic association with golden ratio. For example, Midhat J. Gazalé says, "It was not until Euclid, however, that the golden ratio's mathematical properties were studied. In the Elements (308 BC) the Greek mathematician merely regarded that number as an interesting irrational number, in connection with the middle and extreme ratios. Its occurrence in regular pentagons and decagons was duly observed, as well as in the dodecahedron (a regular polyhedron whose twelve faces are regular pentagons). It is indeed exemplary that the great Euclid, contrary to generations of mystics who followed, would soberly treat that number for what it is, without attaching to it other than its factual properties."^{[20]} And Keith Devlin says, "Certainly, the oft repeated assertion that the Parthenon in Athens is based on the golden ratio is not supported by actual measurements. In fact, the entire story about the Greeks and golden ratio seems to be without foundation. The one thing we know for sure is that Euclid, in his famous textbook Elements, written around 300 BC, showed how to calculate its value."^{[21]} Nearcontemporary sources like Vitruvius exclusively discuss proportions that can be expressed in whole numbers, i.e. commensurate as opposed to irrational proportions.
A geometrical analysis of the Great Mosque of Kairouan reveals a consistent application of the golden ratio throughout the design, according to Boussora and Mazouz.^{[22]} It is found in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the minaret. Boussora and Mazouz also examined earlier archaeological theories about the mosque, and demonstrate the geometric constructions based on the golden ratio by applying these constructions to the plan of the mosque to test their hypothesis.
The Swiss architect Le Corbusier, famous for his contributions to the modern international style, centered his design philosophy on systems of harmony and proportion. Le Corbusier's faith in the mathematical order of the universe was closely bound to the golden ratio and the Fibonacci series, which he described as "rhythms apparent to the eye and clear in their relations with one another. And these rhythms are at the very root of human activities. They resound in man by an organic inevitability, the same fine inevitability which causes the tracing out of the Golden Section by children, old men, savages and the learned."^{[23]}
Le Corbusier explicitly used the golden ratio in his Modulor system for the scale of architectural proportion. He saw this system as a continuation of the long tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man", the work of Leon Battista Alberti, and others who used the proportions of the human body to improve the appearance and function of architecture. In addition to the golden ratio, Le Corbusier based the system on human measurements, Fibonacci numbers, and the double unit. He took Leonardo's suggestion of the golden ratio in human proportions to an extreme: he sectioned his model human body's height at the navel with the two sections in golden ratio, then subdivided those sections in golden ratio at the knees and throat; he used these golden ratio proportions in the Modulor system. Le Corbusier's 1927 Villa Stein in Garches exemplified the Modulor system's application. The villa's rectangular ground plan, elevation, and inner structure closely approximate golden rectangles.^{[24]}
Another Swiss architect, Mario Botta, bases many of his designs on geometric figures. Several private houses he designed in Switzerland are composed of squares and circles, cubes and cylinders. In a house he designed in Origlio, the golden ratio is the proportion between the central section and the side sections of the house.^{[25]}
In a recent book, author Jason Elliot speculated that the golden ratio was used by the designers of the Naqshe Jahan Square and the adjacent Lotfollah mosque.^{[26]}
Leonardo da Vinci's illustrations of polyhedra in De Divina Proportione (On the Divine Proportion) and his views that some bodily proportions exhibit the golden ratio have led some scholars to speculate that he incorporated the golden ratio in his paintings.^{[27]} But the suggestion that his Mona Lisa, for example, employs golden ratio proportions, is not supported by anything in Leonardo's own writings.^{[28]}
Salvador Dalí explicitly used the golden ratio in his masterpiece, The Sacrament of the Last Supper. The dimensions of the canvas are a golden rectangle. A huge dodecahedron, with edges in golden ratio to one another, is suspended above and behind Jesus and dominates the composition.^{[2]}^{[29]}
Mondrian used the golden section extensively in his geometrical paintings.^{[30]}
A statistical study on 565 works of art of different great painters, performed in 1999, found that these artists had not used the golden ratio in the size of their canvases. The study concluded that the average ratio of the two sides of the paintings studied is 1.34, with averages for individual artists ranging from 1.04 (Goya) to 1.46 (Bellini).^{[31]} On the other hand, Pablo Tosto listed over 350 works by wellknown artists, including more than 100 which have canvasses with golden rectangle and root5 proportions, and others with proportions like root2, 3, 4, and 6.^{[32]}
According to Jan Tschichold,^{[34]}
There was a time when deviations from the truly beautiful page proportions 2:3, 1:√3, and the Golden Section were rare. Many books produced between 1550 and 1770 show these proportions exactly, to within half a millimetre.
Studies by psychologists, starting with Fechner, have been devised to test the idea that the golden ratio plays a role in human perception of beauty. While Fechner found a preference for rectangle ratios centered on the golden ratio, later attempts to carefully test such a hypothesis have been, at best, inconclusive.^{[2]}^{[35]}
James Tenney reconceived his piece For Ann (rising), which consists of up to twelve computergenerated upwardly glissandoing tones (see Shepard tone), as having each tone start so it is the golden ratio (in between an equal tempered minor and major sixth) below the previous tone, so that the combination tones produced by all consecutive tones are a lower or higher pitch already, or soon to be, produced.
Ernő Lendvai analyzes Béla Bartók's works as being based on two opposing systems, that of the golden ratio and the acoustic scale,^{[36]} though other music scholars reject that analysis.^{[2]} In Bartok's Music for Strings, Percussion and Celesta the xylophone progression occurs at the intervals 1:2:3:5:8:5:3:2:1.^{[37]} French composer Erik Satie used the golden ratio in several of his pieces, including Sonneries de la Rose+Croix.
The golden ratio is also apparent in the organization of the sections in the music of Debussy's Reflets dans l'eau (Reflections in Water), from Images (1st series, 1905), in which "the sequence of keys is marked out by the intervals 34, 21, 13 and 8, and the main climax sits at the phi position."^{[37]}
The musicologist Roy Howat has observed that the formal boundaries of La Mer correspond exactly to the golden section.^{[38]} Trezise finds the intrinsic evidence "remarkable," but cautions that no written or reported evidence suggests that Debussy consciously sought such proportions.^{[39]} Also, many works of Chopin, mainly Etudes (studies) and Nocturnes, are formally based on the golden ratio. This results in the biggest climax of both musical expression and technical difficulty after about 2/3 of the piece.^{[citation needed]}
Pearl Drums positions the air vents on its Masters Premium models based on the golden ratio. The company claims that this arrangement improves bass response and has applied for a patent on this innovation.^{[40]}
In the opinion of author Leon Harkleroad, "Some of the most misguided attempts to link music and mathematics have involved Fibonacci numbers and the related golden ratio."^{[41]}
Adolf Zeising, whose main interests were mathematics and philosophy, found the golden ratio expressed in the arrangement of branches along the stems of plants and of veins in leaves. He extended his research to the skeletons of animals and the branchings of their veins and nerves, to the proportions of chemical compounds and the geometry of crystals, even to the use of proportion in artistic endeavors. In these phenomena he saw the golden ratio operating as a universal law.^{[42]} In connection with his scheme for goldenratiobased human body proportions, Zeising wrote in 1854 of a universal law "in which is contained the groundprinciple of all formative striving for beauty and completeness in the realms of both nature and art, and which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical; which finds its fullest realization, however, in the human form."^{[43]}
The negative root of the quadratic equation for φ (the "conjugate root") is 1 − ϕ ≈ −0.618. The absolute value of this quantity (≈ 0.618) corresponds to the length ratio taken in reverse order (shorter segment length over longer segment length, b / a), and is sometimes referred to as the golden ratio conjugate.^{[10]} It is denoted here by the capital Phi (Φ):
Alternatively, Φ can be expressed as
This illustrates the unique property of the golden ratio among positive numbers, that
or its inverse:
Recall that:
If we call the whole n and the longer part m, then the second statement above becomes
or, algebraically
To say that φ is rational means that φ is a fraction n/m where n and m are integers. We may take n/m to be in lowest terms and n and m to be positive. But if n/m is in lowest terms, then the identity labeled (*) above says m/(n − m) is in still lower terms. That is a contradiction that follows from the assumption that φ is rational.
Another short proof—perhaps more commonly known—of the irrationality of the golden ratio makes use of the closure of rational numbers under addition and multiplication. If is rational, then is also rational, which is a contradiction if it is already known that the square root of a nonsquare natural number is irrational.
The formula φ = 1 + 1/φ can be expanded recursively to obtain a continued fraction for the golden ratio:^{[44]}
and its reciprocal:
The convergents of these continued fractions (1, 2, 3/2, 5/3, 8/5, 13/8, … , or 1, 1/2, 2/3, 3/5, 5/8, 8/13, …) are ratios of successive Fibonacci numbers.
The equation φ^{2} = 1 + φ likewise produces the continued square root form:
An infinite series can be derived to express phi.^{[45]}
Also:
These correspond to the fact that the length of the diagonal of a regular pentagon is φ times the length of its side, and similar relations in a pentagram.
The number φ turns up frequently in geometry, particularly in figures with pentagonal symmetry. The length of a regular pentagon's diagonal is φ times its side. The vertices of a regular icosahedron are those of three mutually orthogonal golden rectangles.
There is no known general algorithm to arrange a given number of nodes evenly on a sphere, for any of several definitions of even distribution (see, for example, Thomson problem). However, a useful approximation results from dividing the sphere into parallel bands of equal area and placing one node in each band at longitudes spaced by a golden section of the circle, i.e. 360°/φ ≅ 222.5°. This method was used to arrange the 1500 mirrors of the studentparticipatory satellite Starshine3.^{[46]}
The golden triangle can be characterised as an isosceles triangle ABC with the property that bisecting the angle C produces a new triangle CXB which is a similar triangle to the original.
If angle BCX = α, then XCA = α because of the bisection, and CAB = α because of the similar triangles; ABC = 2α from the original isosceles symmetry, and BXC = 2α by similarity. The angles in a triangle add up to 180°, so 5α = 180, giving α = 36°. So the angles of the golden triangle are thus 36°72°72°. The angles of the remaining obtuse isosceles triangle AXC (sometimes called the golden gnomon) are 36°36°108°.
Suppose XB has length 1, and we call BC length φ. Because of the isosceles triangles BC=XC and XC=XA, so these are also length φ. Length AC = AB, therefore equals φ+1. But triangle ABC is similar to triangle CXB, so AC/BC = BC/BX, and so AC also equals φ^{2}. Thus φ^{2} = φ+1, confirming that φ is indeed the golden ratio.
The golden ratio plays an important role in regular pentagons and pentagrams. Each intersection of edges sections other edges in the golden ratio. Also, the ratio of the length of the shorter segment to the segment bounded by the 2 intersecting edges (a side of the pentagon in the pentagram's center) is φ, as the fourcolor illustration shows.
The pentagram includes ten isosceles triangles: five acute and five obtuse isosceles triangles. In all of them, the ratio of the longer side to the shorter side is φ. The acute triangles are golden triangles. The obtuse isosceles triangles are golden gnomon.
The golden ratio can also be confirmed by applying Ptolemy's theorem to the quadrilateral formed by removing one vertex from a regular pentagon. If the quadrilateral's long edge and diagonals are b, and short edges are a, then Ptolemy's theorem gives b^{2} = a^{2} + ab which yields
Consider a triangle with sides of lengths a, b, and c in decreasing order. Define the "scalenity" of the triangle to be the smaller of the two ratios a/b and b/c. The scalenity is always less than φ and can be made as close as desired to φ.^{[47]}
The mathematics of the golden ratio and of the Fibonacci sequence are intimately interconnected. The Fibonacci sequence is:
The closedform expression (known as Binet's formula, even though it was already known by Abraham de Moivre) for the Fibonacci sequence involves the golden ratio:
The golden ratio is the limit of the ratios of successive terms of the Fibonacci sequence (or any Fibonaccilike sequence), as originally shown by Kepler:^{[16]}
Therefore, if a Fibonacci number is divided by its immediate predecessor in the sequence, the quotient approximates φ; e.g., 987/610 ≈ 1.6180327868852. These approximations are alternately lower and higher than φ, and converge on φ as the Fibonacci numbers increase, and:
More generally:
where above, the ratios of consecutive terms of the Fibonacci sequence, is a case when a = 1.
Furthermore, the successive powers of φ obey the Fibonacci recurrence:
This identity allows any polynomial in φ to be reduced to a linear expression. For example:
However, this is no special property of φ, because polynomials in any solution x to a quadratic equation can be reduced in an analogous manner, by applying:
for given coefficients a, b such that x satisfies the equation. Even more generally, any rational function (with rational coefficients) of the root of an irreducible nthdegree polynomial over the rationals can be reduced to a polynomial of degree n ‒ 1. Phrased in terms of field theory, if α is a root of an irreducible nthdegree polynomial, then has degree n over , with basis .
The golden ratio and inverse golden ratio have a set of symmetries that preserve and interrelate them. They are both preserved by the fractional linear transformations x,1 / (1 − x),(x − 1) / x, – this fact corresponds to the identity and the definition quadratic equation. Further, they are interchanged by the three maps 1 / x,1 − x,x / (x − 1) – they are reciprocals, symmetric about 1 / 2, and (projectively) symmetric about 2.
More deeply, these maps form a subgroup of the modular group isomorphic to the symmetric group on 3 letters, S_{3}, corresponding to the stabilizer of the set of 3 standard points on the projective line, and the symmetries correspond to the quotient map – the subgroup C_{3} < S_{3} consisting of the 3cycles and the identity fixes the two numbers, while the 2cycles interchange these, thus realizing the map.
The golden ratio has the simplest expression (and slowest convergence) as a continued fraction expansion of any irrational number (see Alternate forms above). It is, for that reason, one of the worst cases of Lagrange's approximation theorem. This may be the reason angles close to the golden ratio often show up in phyllotaxis (the growth of plants).
The defining quadratic polynomial and the conjugate relationship lead to decimal values that have their fractional part in common with φ:
The sequence of powers of φ contains these values 0.618…, 1.0, 1.618…, 2.618…; more generally, any power of φ is equal to the sum of the two immediately preceding powers:
As a result, one can easily decompose any power of φ into a multiple of φ and a constant. The multiple and the constant are always adjacent Fibonacci numbers. This leads to another property of the positive powers of φ:
If , then:
When the golden ratio is used as the base of a numeral system (see Golden ratio base, sometimes dubbed phinary or φnary), every integer has a terminating representation, despite φ being irrational, but every fraction has a nonterminating representation.
The golden ratio is a fundamental unit of the algebraic number field and is a Pisot–Vijayaraghavan number.^{[48]}
The golden ratio also appears in hyperbolic geometry, as the maximum distance from a point on one side of an ideal triangle to the closer of the other two sides: this distance, the side length of the equilateral triangle formed by the points of tangency of a circle inscribed within the ideal triangle, is 4 ln φ.^{[49]}
The golden ratio's decimal expansion can be calculated directly from the expression
with √5 ≈ 2.2360679774997896964. The square root of 5 can be calculated with the Babylonian method, starting with an initial estimate such as xφ = 2 and iterating
for n = 1, 2, 3, …, until the difference between x_{n} and x_{n−1} becomes zero, to the desired number of digits.
The Babylonian algorithm for √5 is equivalent to Newton's method for solving the equation x^{2} − 5 = 0. In its more general form, Newton's method can be applied directly to any algebraic equation, including the equation x^{2} − x − 1 = 0 that defines the golden ratio. This gives an iteration that converges to the golden ratio itself,
for an appropriate initial estimate xφ such as xφ = 1. A slightly faster method is to rewrite the equation as x − 1 − 1/x = 0, in which case the Newton iteration becomes
These iterations all converge quadratically; that is, each step roughly doubles the number of correct digits. The golden ratio is therefore relatively easy to compute with arbitrary precision. The time needed to compute n digits of the golden ratio is proportional to the time needed to divide two ndigit numbers. This is considerably faster than known algorithms for the transcendental numbers π and e.
An easily programmed alternative using only integer arithmetic is to calculate two large consecutive Fibonacci numbers and divide them. The ratio of Fibonacci numbers F_{25001} and F_{25000}, each over 5000 digits, yields over 10,000 significant digits of the golden ratio.
Millions of digits of φ are available (sequence A001622 in OEIS). See the web page of Alexis Irlande for the 17,000,000,000 first digits^{[50]}.
Both Egyptian pyramids and those mathematical regular square pyramids that resemble them can be analyzed with respect to the golden ratio and other ratios.
A pyramid in which the apothem (slant height along the bisector of a face) is equal to φ times the semibase (half the base width) is sometimes called a golden pyramid. The isosceles triangle that is the face of such a pyramid can be constructed from the two halves of a diagonally split golden rectangle (of size semibase by apothem), joining the mediumlength edges to make the apothem. The height of this pyramid is times the semibase (that is, the slope of the face is ); the square of the height is equal to the area of a face, φ times the square of the semibase.
The medial right triangle of this "golden" pyramid (see diagram), with sides is interesting in its own right, demonstrating via the Pythagorean theorem the relationship or . This "Kepler triangle"^{[51]} is the only right triangle proportion with edge lengths in geometric progression,^{[52]} just as the 3–4–5 triangle is the only right triangle proportion with edge lengths in arithmetic progression. The angle with tangent corresponds to the angle that the side of the pyramid makes with respect to the ground, 51.827… degrees (51° 49' 38").^{[53]}
A nearly similar pyramid shape, but with rational proportions, is described in the Rhind Mathematical Papyrus (the source of a large part of modern knowledge of ancient Egyptian mathematics), based on the 3:4:5 triangle;^{[54]} the face slope corresponding to the angle with tangent 4/3 is 53.13 degrees (53 degrees and 8 minutes).^{[55]} The slant height or apothem is 5/3 or 1.666… times the semibase. The Rhind papyrus has another pyramid problem as well, again with rational slope (expressed as run over rise). Egyptian mathematics did not include the notion of irrational numbers,^{[56]} and the rational inverse slope (run/rise, multiplied by a factor of 7 to convert to their conventional units of palms per cubit) was used in the building of pyramids.^{[54]}
Another mathematical pyramid with proportions almost identical to the "golden" one is the one with perimeter equal to 2π times the height, or h:b = 4:π. This triangle has a face angle of 51.854° (51°51'), very close to the 51.827° of the Kepler triangle. This pyramid relationship corresponds to the coincidental relationship .
Egyptian pyramids very close in proportion to these mathematical pyramids are known.^{[55]}
In the mid nineteenth century, Röber studied various Egyptian pyramids including Khafre, Menkaure and some of the Giza, Sakkara and Abusir groups, and was interpreted as saying that half the base of the side of the pyramid is the middle mean of the side, forming what other authors identified as the Kepler triangle; many other mathematical theories of the shape of the pyramids have also been explored.^{[52]}
One Egyptian pyramid is remarkably close to a "golden pyramid" – the Great Pyramid of Giza (also known as the Pyramid of Cheops or Khufu). Its slope of 51° 52' is extremely close to the "golden" pyramid inclination of 51° 50' and the πbased pyramid inclination of 51° 51'; other pyramids at Giza (Chephren, 52° 20', and Mycerinus, 50° 47')^{[54]} are also quite close. Whether the relationship to the golden ratio in these pyramids is by design or by accident remains controversial. Several other Egyptian pyramids are very close to the rational 3:4:5 shape.^{[55]}
Adding fuel to controversy over the architectural authorship of the Great Pyramid, Eric Temple Bell, mathematician and historian, claimed in 1950 that Egyptian mathematics would not have supported the ability to calculate the slant height of the pyramids, or the ratio to the height, except in the case of the 3:4:5 pyramid, since the 3:4:5 triangle was the only right triangle known to the Egyptians and they did not know the Pythagorean theorem nor any way to reason about irrationals such as π or φ.^{[57]}
Michael Rice^{[58]} asserts that principal authorities on the history of Egyptian architecture have argued that the Egyptians were well acquainted with the golden ratio and that it is part of mathematics of the Pyramids, citing Giedon (1957).^{[59]} Historians of science have always debated whether the Egyptians had any such knowledge or not, contending rather that its appearance in an Egyptian building is the result of chance.^{[60]}
In 1859, the pyramidologist John Taylor claimed that, in the Great Pyramid of Giza, the golden ratio is represented by the ratio of the length of the face (the slope height), inclined at an angle θ to the ground, to half the length of the side of the square base, equivalent to the secant of the angle θ.^{[61]} The above two lengths were about 186.4 and 115.2 meters respectively. The ratio of these lengths is the golden ratio, accurate to more digits than either of the original measurements. Similarly, Howard Vyse, according to Matila Ghyka,^{[62]} reported the great pyramid height 148.2 m, and halfbase 116.4 m, yielding 1.6189 for the ratio of slant height to halfbase, again more accurate than the data variability.
Examples of disputed observations of the golden ratio include the following:
In mathematics and the arts, two quantities are in the golden ratio if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one. The golden ratio is an irrational mathematical constant, approximately 1.6180339887.^{[1]} Other names frequently used for the golden ratio are the golden section (Latin: sectio aurea) and golden mean.^{[2]}^{[3]}^{[4]} Other terms encountered include extreme and mean ratio,^{[5]} medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut,^{[6]} golden number, and mean of Phidias.^{[7]}^{[8]}^{[9]} The golden ratio is often denoted by the Greek letter phi, usually lower case (φ).
The figure on the right illustrates the geometric relationship that defines this constant. Expressed algebraically:
This equation has one positive solution in the algebraic irrational number
At least since the Renaissance, many artists and architects have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing. Mathematicians have studied the golden ratio because of its unique and interesting properties.
1. Construct a unit square (red).
2. Draw a line from the midpoint of one side to an opposite corner.
3. Use that line as the radius to draw an arc that defines the long dimension of the rectangle.]]
Contents

List of numbers – Irrational and suspected irrational numbers γ – ζ(3) – √2 – √3 – √5 – φ – ρ – δ_{S} – α – e – π – δ  
Binary  1.1001111000110111011… 
Decimal  1.6180339887498948482… 
Hexadecimal  1.9E3779B97F4A7C15F39… 
Continued fraction  $1\; +\; \backslash cfrac\{1\}\{1\; +\; \backslash cfrac\{1\}\{1\; +\; \backslash cfrac\{1\}\{1\; +\; \backslash cfrac\{1\}\{1\; +\; \backslash ddots\}\}\}\}$ 
Algebraic form  $\backslash frac\{1\; +\; \backslash sqrt\{5\}\}\{2\}$ 
Infinite series  $\backslash frac\{13\}\{8\}+\backslash sum\_\{n=0\}^\{\backslash infty\}\backslash frac\{(1)^\{(n+1)\}(2n+1)!\}\{(n+2)!n!4^\{(2n+3)\}\}$ 
Two quantities a and b are said to be in the golden ratio φ if:
This equation unambiguously defines φ.
The fraction on the left can be converted to
Multiplying through by φ produces
which can be rearranged to
The only positive solution to this quadratic equation is
proposed using the first letter in the name of Greek sculptor Phidias, phi, to symbolize the golden ratio. Usually, the lowercase form (φ) is used. Sometimes, the uppercase form (Φ) is used for the reciprocal of the golden ratio, 1/φ.^{[10]}]]
The golden ratio has fascinated Western intellectuals of diverse interests for at least 2,400 years. According to Mario Livio:
Some of the greatest mathematical minds of all ages, from Pythagoras and Euclid in ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to presentday scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics.^{[11]}
Ancient Greek mathematicians first studied what we now call the golden ratio because of its frequent appearance in geometry. The division of a line into "extreme and mean ratio" (the golden section) is important in the geometry of regular pentagrams and pentagons. The Greeks usually attributed discovery of this concept to Pythagoras or his followers. The regular pentagram, which has a regular pentagon inscribed within it, was the Pythagoreans' symbol.
Euclid's Elements (Greek: Στοιχεῖα) provides the first known written definition of what is now called the golden ratio: "A straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the less."^{[5]} Euclid explains a construction for cutting (sectioning) a line "in extreme and mean ratio", i.e. the golden ratio.^{[12]} Throughout the Elements, several propositions (theorems in modern terminology) and their proofs employ the golden ratio.^{[13]} Some of these propositions show that the golden ratio is an irrational number.
The name "extreme and mean ratio" was the principal term used from the 3rd century BC^{[5]} until about the 18th century.
The modern history of the golden ratio starts with Luca Pacioli's De divina proportione of 1509, which captured the imagination of artists, architects, scientists, and mystics with the properties, mathematical and otherwise, of the golden ratio.
, first to publish a decimal approximation of the golden ratio, in 1597.]]
The first known approximation of the (inverse) golden ratio by a decimal fraction, stated as "about 0.6180340," was written in 1597 by Prof. Michael Maestlin of the University of Tübingen in a letter to his former student Johannes Kepler.^{[14]}
Since the twentieth century, the golden ratio has been represented by the Greek letter Φ or φ (phi, after Phidias, a sculptor who is said to have employed it) or less commonly by τ (tau, the first letter of the ancient Greek root τομή—meaning cut).^{[2]}^{[15]}
Timeline according to Priya Hemenway.^{[16]}
Beginning in the Renaissance, a body of literature on the aesthetics of the golden ratio was developed. As a result, architects, artists, book designers, and others have been encouraged to use the golden ratio in the dimensional relationships of their works.
The first and most influential of these was De Divina Proportione by Luca Pacioli, a threevolume work published in 1509. Pacioli, a Franciscan friar, was known mostly as a mathematician, but he was also trained and keenly interested in art. De Divina Proportione explored the mathematics of the golden ratio. Though it is often said that Pacioli advocated the golden ratio's application to yield pleasing, harmonious proportions, Livio points out that that interpretation has been traced to an error in 1799, and that Pacioli actually advocated the Vitruvian system of rational proportions.^{[2]} Pacioli also saw Catholic religious significance in the ratio, which led to his work's title. Containing illustrations of regular solids by Leonardo Da Vinci, Pacioli's longtime friend and collaborator, De Divina Proportione was a major influence on generations of artists and architects alike.
Some studies of the Acropolis, including the Parthenon, conclude that many of its proportions approximate the golden ratio.^{[citation needed]} The Parthenon's facade as well as elements of its facade and elsewhere are said to be circumscribed by golden rectangles.^{[21]} To the extent that classical buildings or their elements are proportioned according to the golden ratio, this might indicate that their architects were aware of the golden ratio and consciously employed it in their designs. Alternatively, it is possible that the architects used their own sense of good proportion, and that this led to some proportions that closely approximate the golden ratio.^{[original research?]} On the other hand, such retrospective analyses can always be questioned on the ground that the investigator chooses the points from which measurements are made or where to superimpose golden rectangles, and that these choices affect the proportions observed.
Some scholars deny that the Greeks had any aesthetic association with golden ratio. For example, Midhat J. Gazalé says, "It was not until Euclid, however, that the golden ratio's mathematical properties were studied. In the Elements (308 BC) the Greek mathematician merely regarded that number as an interesting irrational number, in connection with the middle and extreme ratios. Its occurrence in regular pentagons and decagons was duly observed, as well as in the dodecahedron (a regular polyhedron whose twelve faces are regular pentagons). It is indeed exemplary that the great Euclid, contrary to generations of mystics who followed, would soberly treat that number for what it is, without attaching to it other than its factual properties."^{[22]} And Keith Devlin says, "Certainly, the oft repeated assertion that the Parthenon in Athens is based on the golden ratio is not supported by actual measurements. In fact, the entire story about the Greeks and golden ratio seems to be without foundation. The one thing we know for sure is that Euclid, in his famous textbook Elements, written around 300 BC, showed how to calculate its value."^{[23]} Nearcontemporary sources like Vitruvius exclusively discuss proportions that can be expressed in whole numbers, i.e. commensurate as opposed to irrational proportions.
A geometrical analysis of the Great Mosque of Kairouan reveals a consistent application of the golden ratio throughout the design, according to Boussora and Mazouz.^{[24]} It is found in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the minaret. Boussora and Mazouz also examined earlier archaeological theories about the mosque, and demonstrate the geometric constructions based on the golden ratio by applying these constructions to the plan of the mosque to test their hypothesis.
The Swiss architect Le Corbusier, famous for his contributions to the modern international style, centered his design philosophy on systems of harmony and proportion. Le Corbusier's faith in the mathematical order of the universe was closely bound to the golden ratio and the Fibonacci series, which he described as "rhythms apparent to the eye and clear in their relations with one another. And these rhythms are at the very root of human activities. They resound in man by an organic inevitability, the same fine inevitability which causes the tracing out of the Golden Section by children, old men, savages and the learned."^{[25]}
Le Corbusier explicitly used the golden ratio in his Modulor system for the scale of architectural proportion. He saw this system as a continuation of the long tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man", the work of Leon Battista Alberti, and others who used the proportions of the human body to improve the appearance and function of architecture. In addition to the golden ratio, Le Corbusier based the system on human measurements, Fibonacci numbers, and the double unit. He took Leonardo's suggestion of the golden ratio in human proportions to an extreme: he sectioned his model human body's height at the navel with the two sections in golden ratio, then subdivided those sections in golden ratio at the knees and throat; he used these golden ratio proportions in the Modulor system. Le Corbusier's 1927 Villa Stein in Garches exemplified the Modulor system's application. The villa's rectangular ground plan, elevation, and inner structure closely approximate golden rectangles.^{[26]}
Another Swiss architect, Mario Botta, bases many of his designs on geometric figures. Several private houses he designed in Switzerland are composed of squares and circles, cubes and cylinders. In a house he designed in Origlio, the golden ratio is the proportion between the central section and the side sections of the house.^{[27]}
In a recent book, author Jason Elliot speculated that the golden ratio was used by the designers of the Naqshe Jahan Square and the adjacent Lotfollah mosque.^{[28]}
16th century philosopher, Heinrich Agrippa, drew a man over a pentagram inside a circle. This ink drawing was used to show the proportions that became the basic model used by architects for centuries and today.^{[citation needed]} Its concept is used in the construction by Marwan Zgheib of the round skyscraper in Abu Dhabi in the U.A.E.^{[29]}^{[unreliable source?]}
Leonardo da Vinci's illustrations of polyhedra in De Divina Proportione (On the Divine Proportion) and his views that some bodily proportions exhibit the golden ratio have led some scholars to speculate that he incorporated the golden ratio in his paintings.^{[30]} But the suggestion that his Mona Lisa, for example, employs golden ratio proportions, is not supported by anything in Leonardo's own writings.^{[31]}
Salvador Dalí explicitly used the golden ratio in his masterpiece, The Sacrament of the Last Supper. The dimensions of the canvas are a golden rectangle. A huge dodecahedron, in perspective so that edges appear in golden ratio to one another, is suspended above and behind Jesus and dominates the composition.^{[2]}^{[32]}
Mondrian has been said to have used the golden section extensively in his geometrical paintings,^{[33]} though other experts (including critic YveAlain Bois) have disputed this claim.^{[2]}
A statistical study on 565 works of art of different great painters, performed in 1999, found that these artists had not used the golden ratio in the size of their canvases. The study concluded that the average ratio of the two sides of the paintings studied is 1.34, with averages for individual artists ranging from 1.04 (Goya) to 1.46 (Bellini).^{[34]} On the other hand, Pablo Tosto listed over 350 works by wellknown artists, including more than 100 which have canvasses with golden rectangle and root5 proportions, and others with proportions like root2, 3, 4, and 6.^{[35]}
According to Jan Tschichold,^{[37]}
There was a time when deviations from the truly beautiful page proportions 2:3, 1:√3, and the Golden Section were rare. Many books produced between 1550 and 1770 show these proportions exactly, to within half a millimetre.
Studies by psychologists, starting with Fechner, have been devised to test the idea that the golden ratio plays a role in human perception of beauty. While Fechner found a preference for rectangle ratios centered on the golden ratio, later attempts to carefully test such a hypothesis have been, at best, inconclusive.^{[2]}^{[38]}
James Tenney reconceived his piece For Ann (rising), which consists of up to twelve computergenerated upwardly glissandoing tones (see Shepard tone), as having each tone start so it is the golden ratio (in between an equal tempered minor and major sixth) below the previous tone, so that the combination tones produced by all consecutive tones are a lower or higher pitch already, or soon to be, produced.
Ernő Lendvai analyzes Béla Bartók's works as being based on two opposing systems, that of the golden ratio and the acoustic scale,^{[39]} though other music scholars reject that analysis.^{[2]} In Bartok's Music for Strings, Percussion and Celesta the xylophone progression occurs at the intervals 1:2:3:5:8:5:3:2:1.^{[40]} French composer Erik Satie used the golden ratio in several of his pieces, including Sonneries de la Rose+Croix.
The golden ratio is also apparent in the organization of the sections in the music of Debussy's Reflets dans l'eau (Reflections in Water), from Images (1st series, 1905), in which "the sequence of keys is marked out by the intervals 34, 21, 13 and 8, and the main climax sits at the phi position."^{[40]}
The musicologist Roy Howat has observed that the formal boundaries of La Mer correspond exactly to the golden section.^{[41]} Trezise finds the intrinsic evidence "remarkable," but cautions that no written or reported evidence suggests that Debussy consciously sought such proportions.^{[42]} Also, many works of Chopin, mainly Etudes (studies) and Nocturnes, are formally based on the golden ratio. This results in the biggest climax of both musical expression and technical difficulty after about 2/3 of the piece.^{[citation needed]}
Pearl Drums positions the air vents on its Masters Premium models based on the golden ratio. The company claims that this arrangement improves bass response and has applied for a patent on this innovation.^{[43]}
In the opinion of author Leon Harkleroad, "Some of the most misguided attempts to link music and mathematics have involved Fibonacci numbers and the related golden ratio."^{[44]}
in Jerusalem is proportioned incorporating the Fibonacci numbers sequence.]]
Australian sculptor Andrew Rogers's 50ton stone and gold sculpture entitled Ratio, installed outdoors in Jerusalem,^{[45]} uses the Fibonacci sequence as a design element. The sculpture is sometimes referred to as Golden Ratio,^{[46]} although the sculptor make no reference to the term directly. The height of each stack of stones, beginning from either end and moving toward the center, is the beginning of the Fibonacci sequence: 1, 1, 2, 3, 5, 8. His sculpture Ascend in Sri Lanka, also in his Rhythms of Life series, is similarly constructed, with heights 1, 1, 2, 3, 5, 8, 13, but no descending side.^{[45]}
Some sources claim that the golden ratio is commonly used in everyday design, for example in the shapes of postcards, playing cards, posters, widescreen televisions, photographs, and light switch plates.^{[47]}^{[48]}^{[49]}^{[50]}
Adolf Zeising, whose main interests were mathematics and philosophy, found the golden ratio expressed in the arrangement of branches along the stems of plants and of veins in leaves. He extended his research to the skeletons of animals and the branchings of their veins and nerves, to the proportions of chemical compounds and the geometry of crystals, even to the use of proportion in artistic endeavors. In these phenomena he saw the golden ratio operating as a universal law.^{[51]} In connection with his scheme for goldenratiobased human body proportions, Zeising wrote in 1854 of a universal law "in which is contained the groundprinciple of all formative striving for beauty and completeness in the realms of both nature and art, and which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical; which finds its fullest realization, however, in the human form."^{[52]}
In 2003, Volkmar Weiss and Harald Weiss analyzed psychometric data and theoretical considerations and concluded that the golden ratio underlies the clock cycle of brain waves.^{[53]} In 2008 this was empirically confirmed by a group of neurobiologists.^{[54]}
In 2010, the journal Science reported that the golden ratio is present at the atomic scale in the magnetic resonance of spins in cobalt niobate crystals.^{[55]}
Several researchers have proposed connections between the golden ratio and human genome DNA.^{[56]}^{[57]}^{[58]}^{[59]}^{[60]}
The negative root of the quadratic equation for φ (the "conjugate root") is 1 − ϕ ≈ −0.618. The absolute value of this quantity (≈ 0.618) corresponds to the length ratio taken in reverse order (shorter segment length over longer segment length, b / a), and is sometimes referred to as the golden ratio conjugate.^{[10]} It is denoted here by the capital Phi (Φ):
Alternatively, Φ can be expressed as
This illustrates the unique property of the golden ratio among positive numbers, that
or its inverse:
Recall that:
If we call the whole n and the longer part m, then the second statement above becomes
or, algebraically
To say that φ is rational means that φ is a fraction n/m where n and m are integers. We may take n/m to be in lowest terms and n and m to be positive. But if n/m is in lowest terms, then the identity labeled (*) above says m/(n − m) is in still lower terms. That is a contradiction that follows from the assumption that φ is rational.
Another short proof—perhaps more commonly known—of the irrationality of the golden ratio makes use of the closure of rational numbers under addition and multiplication. If $\backslash textstyle\backslash frac\{1\; +\; \backslash sqrt\{5\}\}\{2\}$ is rational, then $\backslash textstyle2\backslash left(\backslash frac\{1\; +\; \backslash sqrt\{5\}\}\{2\}\; \; \backslash frac\{1\}\{2\}\backslash right)\; =\; \backslash sqrt\{5\}$ is also rational, which is a contradiction if it is already known that the square root of a nonsquare natural number is irrational.
The formula φ = 1 + 1/φ can be expanded recursively to obtain a continued fraction for the golden ratio:^{[61]}
and its reciprocal:
The convergents of these continued fractions (1, 2, 3/2, 5/3, 8/5, 13/8, … , or 1, 1/2, 2/3, 3/5, 5/8, 8/13, …) are ratios of successive Fibonacci numbers.
The equation φ^{2} = 1 + φ likewise produces the continued square root, or infinite surd, form:
An infinite series can be derived to express phi:^{[62]}
Also:
These correspond to the fact that the length of the diagonal of a regular pentagon is φ times the length of its side, and similar relations in a pentagram.
The number φ turns up frequently in geometry, particularly in figures with pentagonal symmetry. The length of a regular pentagon's diagonal is φ times its side. The vertices of a regular icosahedron are those of three mutually orthogonal golden rectangles.
There is no known general algorithm to arrange a given number of nodes evenly on a sphere, for any of several definitions of even distribution (see, for example, Thomson problem). However, a useful approximation results from dividing the sphere into parallel bands of equal area and placing one node in each band at longitudes spaced by a golden section of the circle, i.e. 360°/φ ≅ 222.5°. This method was used to arrange the 1500 mirrors of the studentparticipatory satellite Starshine3.^{[63]}
The golden triangle can be characterised as an isosceles triangle ABC with the property that bisecting the angle C produces a new triangle CXB which is a similar triangle to the original.
If angle BCX = α, then XCA = α because of the bisection, and CAB = α because of the similar triangles; ABC = 2α from the original isosceles symmetry, and BXC = 2α by similarity. The angles in a triangle add up to 180°, so 5α = 180, giving α = 36°. So the angles of the golden triangle are thus 36°72°72°. The angles of the remaining obtuse isosceles triangle AXC (sometimes called the golden gnomon) are 36°36°108°.
Suppose XB has length 1, and we call BC length φ. Because of the isosceles triangles BC=XC and XC=XA, so these are also length φ. Length AC = AB, therefore equals φ+1. But triangle ABC is similar to triangle CXB, so AC/BC = BC/BX, and so AC also equals φ^{2}. Thus φ^{2} = φ+1, confirming that φ is indeed the golden ratio.
The golden ratio plays an important role in regular pentagons and pentagrams. Each intersection of edges sections other edges in the golden ratio. Also, the ratio of the length of the shorter segment to the segment bounded by the 2 intersecting edges (a side of the pentagon in the pentagram's center) is φ, as the fourcolor illustration shows.
The pentagram includes ten isosceles triangles: five acute and five obtuse isosceles triangles. In all of them, the ratio of the longer side to the shorter side is φ. The acute triangles are golden triangles. The obtuse isosceles triangles are golden gnomon.
.]]
The golden ratio can also be confirmed by applying Ptolemy's theorem to the quadrilateral formed by removing one vertex from a regular pentagon. If the quadrilateral's long edge and diagonals are b, and short edges are a, then Ptolemy's theorem gives b^{2} = a^{2} + ab which yields
Consider a triangle with sides of lengths a, b, and c in decreasing order. Define the "scalenity" of the triangle to be the smaller of the two ratios a/b and b/c. The scalenity is always less than φ and can be made as close as desired to φ.^{[64]}
If the side lengths of a triangle form a geometric progression and are in the ratio 1 : r : r^{2}, where r is the common ratio, then r must lie in the range φ−1 < r < φ.^{[citation needed]} A triangle whose sides are in the ratio 1 : √φ : φ is a right triangle (because 1 + φ = φ^{2}) known as a Kepler triangle.^{[65]}
A golden rhombus is a rhombus whose diagonals are in the ratio.^{[citation needed]} The rhombic triacontahedron is a rhombohedron that has a very special property: all of its faces are golden rhombi.^{[citation needed]} In the rhombic traiconahedron the dihedral angle between any two adjacent rhombi is 144°, which is twice the isosceles angle of a golden triangle and four times its most acute angle.^{[citation needed]}
The mathematics of the golden ratio and of the Fibonacci sequence are intimately interconnected. The Fibonacci sequence is:
The closedform expression (known as Binet's formula, even though it was already known by Abraham de Moivre) for the Fibonacci sequence involves the golden ratio:
= {{\varphi^n(1\varphi)^n} \over {\sqrt 5}}
= {{\varphi^n(\varphi)^{n}} \over {\sqrt 5}}\,.
that approximates the golden spiral, using Fibonacci sequence square sizes up to 34.]]
The golden ratio is the limit of the ratios of successive terms of the Fibonacci sequence (or any Fibonaccilike sequence), as originally shown by Kepler:^{[18]}
Therefore, if a Fibonacci number is divided by its immediate predecessor in the sequence, the quotient approximates φ; e.g., 987/610 ≈ 1.6180327868852. These approximations are alternately lower and higher than φ, and converge on φ as the Fibonacci numbers increase, and:
= \varphi\,.
More generally:
where above, the ratios of consecutive terms of the Fibonacci sequence, is a case when $a\; =\; 1$.
Furthermore, the successive powers of φ obey the Fibonacci recurrence:
= \varphi^n + \varphi^{n1}\,.
This identity allows any polynomial in φ to be reduced to a linear expression. For example:
\begin{align} 3\varphi^3  5\varphi^2 + 4 & = 3(\varphi^2 + \varphi)  5\varphi^2 + 4 \\ & = 3[(\varphi + 1) + \varphi]  5(\varphi + 1) + 4 \\ & = \varphi + 2 \approx 3.618. \end{align}
However, this is no special property of φ, because polynomials in any solution x to a quadratic equation can be reduced in an analogous manner, by applying:
for given coefficients a, b such that x satisfies the equation. Even more generally, any rational function (with rational coefficients) of the root of an irreducible nthdegree polynomial over the rationals can be reduced to a polynomial of degree n ‒ 1. Phrased in terms of field theory, if α is a root of an irreducible nthdegree polynomial, then $\backslash Q(\backslash alpha)$ has degree n over $\backslash Q$, with basis $\backslash \{1,\; \backslash alpha,\; \backslash dots,\; \backslash alpha^\{n1\}\backslash \}$.
The golden ratio and inverse golden ratio $\backslash varphi\_\backslash pm\; =\; (1\backslash pm\; \backslash sqrt\{5\})/2$ have a set of symmetries that preserve and interrelate them. They are both preserved by the fractional linear transformations $x,\; 1/(1x),\; (x1)/x,$ – this fact corresponds to the identity and the definition quadratic equation. Further, they are interchanged by the three maps $1/x,\; 1x,\; x/(x1)$ – they are reciprocals, symmetric about $1/2$, and (projectively) symmetric about 2.
More deeply, these maps form a subgroup of the modular group $\backslash operatorname\{PSL\}(2,\backslash mathbf\{Z\})$ isomorphic to the symmetric group on 3 letters, $S\_3,$ corresponding to the stabilizer of the set $\backslash \{0,1,\backslash infty\backslash \}$ of 3 standard points on the projective line, and the symmetries correspond to the quotient map $S\_3\; \backslash to\; S\_2$ – the subgroup $C\_3\; <\; S\_3$ consisting of the 3cycles and the identity $()\; (0\; 1\; \backslash infty)\; (0\; \backslash infty\; 1)$ fixes the two numbers, while the 2cycles interchange these, thus realizing the map.
The golden ratio has the simplest expression (and slowest convergence) as a continued fraction expansion of any irrational number (see Alternate forms above). It is, for that reason, one of the worst cases of Lagrange's approximation theorem. This may be the reason angles close to the golden ratio often show up in phyllotaxis (the growth of plants).
The defining quadratic polynomial and the conjugate relationship lead to decimal values that have their fractional part in common with φ:
The sequence of powers of φ contains these values 0.618…, 1.0, 1.618…, 2.618…; more generally, any power of φ is equal to the sum of the two immediately preceding powers:
As a result, one can easily decompose any power of φ into a multiple of φ and a constant. The multiple and the constant are always adjacent Fibonacci numbers. This leads to another property of the positive powers of φ:
If $\backslash lfloor\; n/2\; \; 1\; \backslash rfloor\; =\; m$, then:
When the golden ratio is used as the base of a numeral system (see Golden ratio base, sometimes dubbed phinary or φnary), every integer has a terminating representation, despite φ being irrational, but every fraction has a nonterminating representation.
The golden ratio is a fundamental unit of the algebraic number field $\backslash mathbb\{Q\}(\backslash sqrt\{5\})$ and is a Pisot–Vijayaraghavan number.^{[66]}
The golden ratio also appears in hyperbolic geometry, as the maximum distance from a point on one side of an ideal triangle to the closer of the other two sides: this distance, the side length of the equilateral triangle formed by the points of tangency of a circle inscribed within the ideal triangle, is 4 ln φ.^{[67]}
The golden ratio's decimal expansion can be calculated directly from the expression
with √5 ≈ 2.2360679774997896964. The square root of 5 can be calculated with the Babylonian method, starting with an initial estimate such as xφ = 2 and iterating
for n = 1, 2, 3, …, until the difference between x_{n} and x_{n−1} becomes zero, to the desired number of digits.
The Babylonian algorithm for √5 is equivalent to Newton's method for solving the equation x^{2} − 5 = 0. In its more general form, Newton's method can be applied directly to any algebraic equation, including the equation x^{2} − x − 1 = 0 that defines the golden ratio. This gives an iteration that converges to the golden ratio itself,
for an appropriate initial estimate xφ such as xφ = 1. A slightly faster method is to rewrite the equation as x − 1 − 1/x = 0, in which case the Newton iteration becomes
These iterations all converge quadratically; that is, each step roughly doubles the number of correct digits. The golden ratio is therefore relatively easy to compute with arbitrary precision. The time needed to compute n digits of the golden ratio is proportional to the time needed to divide two ndigit numbers. This is considerably faster than known algorithms for the transcendental numbers π and e.
An easily programmed alternative using only integer arithmetic is to calculate two large consecutive Fibonacci numbers and divide them. The ratio of Fibonacci numbers F_{25001} and F_{25000}, each over 5000 digits, yields over 10,000 significant digits of the golden ratio.
The golden ratio φ has been calculated to an accuracy of several millions of decimal digits (sequence A001622 in OEIS). Alexis Irlande performed computations and verification of the first 17,000,000,000 digits.^{[68]}
Both Egyptian pyramids and those mathematical regular square pyramids that resemble them can be analyzed with respect to the golden ratio and other ratios.
A pyramid in which the apothem (slant height along the bisector of a face) is equal to φ times the semibase (half the base width) is sometimes called a golden pyramid. The isosceles triangle that is the face of such a pyramid can be constructed from the two halves of a diagonally split golden rectangle (of size semibase by apothem), joining the mediumlength edges to make the apothem. The height of this pyramid is $\backslash sqrt\{\backslash varphi\}$ times the semibase (that is, the slope of the face is $\backslash sqrt\{\backslash varphi\}$); the square of the height is equal to the area of a face, φ times the square of the semibase.
The medial right triangle of this "golden" pyramid (see diagram), with sides $1:\backslash sqrt\{\backslash varphi\}:\backslash varphi$ is interesting in its own right, demonstrating via the Pythagorean theorem the relationship $\backslash sqrt\{\backslash varphi\}\; =\; \backslash sqrt\{\backslash varphi^2\; \; 1\}$ or $\backslash varphi\; =\; \backslash sqrt\{1\; +\; \backslash varphi\}$. This "Kepler triangle"^{[69]} is the only right triangle proportion with edge lengths in geometric progression,^{[65]} just as the 3–4–5 triangle is the only right triangle proportion with edge lengths in arithmetic progression. The angle with tangent $\backslash sqrt\{\backslash varphi\}$ corresponds to the angle that the side of the pyramid makes with respect to the ground, 51.827… degrees (51° 49' 38").^{[70]}
A nearly similar pyramid shape, but with rational proportions, is described in the Rhind Mathematical Papyrus (the source of a large part of modern knowledge of ancient Egyptian mathematics), based on the 3:4:5 triangle;^{[71]} the face slope corresponding to the angle with tangent 4/3 is 53.13 degrees (53 degrees and 8 minutes).^{[72]} The slant height or apothem is 5/3 or 1.666… times the semibase. The Rhind papyrus has another pyramid problem as well, again with rational slope (expressed as run over rise). Egyptian mathematics did not include the notion of irrational numbers,^{[73]} and the rational inverse slope (run/rise, multiplied by a factor of 7 to convert to their conventional units of palms per cubit) was used in the building of pyramids.^{[71]}
Another mathematical pyramid with proportions almost identical to the "golden" one is the one with perimeter equal to 2π times the height, or h:b = 4:π. This triangle has a face angle of 51.854° (51°51'), very close to the 51.827° of the Kepler triangle. This pyramid relationship corresponds to the coincidental relationship $\backslash sqrt\{\backslash varphi\}\; \backslash approx\; 4/\backslash pi$.
Egyptian pyramids very close in proportion to these mathematical pyramids are known.^{[72]}
In the mid nineteenth century, Röber studied various Egyptian pyramids including Khafre, Menkaure and some of the Giza, Sakkara and Abusir groups, and was interpreted as saying that half the base of the side of the pyramid is the middle mean of the side, forming what other authors identified as the Kepler triangle; many other mathematical theories of the shape of the pyramids have also been explored.^{[65]}
One Egyptian pyramid is remarkably close to a "golden pyramid" – the Great Pyramid of Giza (also known as the Pyramid of Cheops or Khufu). Its slope of 51° 52' is extremely close to the "golden" pyramid inclination of 51° 50' and the πbased pyramid inclination of 51° 51'; other pyramids at Giza (Chephren, 52° 20', and Mycerinus, 50° 47')^{[71]} are also quite close. Whether the relationship to the golden ratio in these pyramids is by design or by accident remains controversial. Several other Egyptian pyramids are very close to the rational 3:4:5 shape.^{[72]}
Adding fuel to controversy over the architectural authorship of the Great Pyramid, Eric Temple Bell, mathematician and historian, claimed in 1950 that Egyptian mathematics would not have supported the ability to calculate the slant height of the pyramids, or the ratio to the height, except in the case of the 3:4:5 pyramid, since the 3:4:5 triangle was the only right triangle known to the Egyptians and they did not know the Pythagorean theorem nor any way to reason about irrationals such as π or φ.^{[74]}
Michael Rice^{[75]} asserts that principal authorities on the history of Egyptian architecture have argued that the Egyptians were well acquainted with the golden ratio and that it is part of mathematics of the Pyramids, citing Giedon (1957).^{[76]} Historians of science have always debated whether the Egyptians had any such knowledge or not, contending rather that its appearance in an Egyptian building is the result of chance.^{[77]}
In 1859, the pyramidologist John Taylor claimed that, in the Great Pyramid of Giza, the golden ratio is represented by the ratio of the length of the face (the slope height), inclined at an angle θ to the ground, to half the length of the side of the square base, equivalent to the secant of the angle θ.^{[78]} The above two lengths were about 186.4 and 115.2 meters respectively. The ratio of these lengths is the golden ratio, accurate to more digits than either of the original measurements. Similarly, Howard Vyse, according to Matila Ghyka,^{[79]} reported the great pyramid height 148.2 m, and halfbase 116.4 m, yielding 1.6189 for the ratio of slant height to halfbase, again more accurate than the data variability.
Examples of disputed observations of the golden ratio include the following:

Wikimedia Commons has media related to: Golden ratio 
If a person has one number a and another smaller number b, he can make the ratio of the two numbers by dividing them. Their ratio is a/b. He can make another ratio by adding the two numbers together a+b and dividing this by the larger number a. The new ratio is (a+b)/a. If these two ratios are equal to the same number, then that number is called the golden ratio. The Greek letter $\backslash varphi$ (phi) is usually used as the name for the golden ratio.
For example, if b = 1 and a/b = $\backslash varphi$, then a = $\backslash varphi$. The second ratio (a+b)/a is then $(\backslash varphi+1)/\backslash varphi$. Because these two ratios are equal, this is true:
$\backslash varphi\; =\; \backslash frac\{\backslash varphi+1\}\{\backslash varphi\}$One way to write this number is
$\backslash varphi\; =\; \backslash frac\{1\; +\; \backslash sqrt\{5\}\}\{2\}$
$\backslash sqrt\{5\}$ is the number which, when multiplied by itself, makes 5: $\backslash sqrt5\backslash times\backslash sqrt5=5$.
The golden ratio is an irrational number. If a person tries to write it, it will never stop and never be the same again and again, but it will start this way: 1.6180339887... An important thing about this number is that a person can subtract 1 from it or divide 1 by it. Either way, he will find the same number:
\varphi1 &=& 1.6180339887...1 &=& 0.6180339887...\\ 1/\varphi &=& \frac{1}{1.6180339887...} &=& 0.6180339887... \end{array}
If the length of a rectangle divided by its width is equal to the golden ratio, then the rectangle is a "golden rectangle". If a square is cut off from one end of a golden rectangle, then the other end is a new golden rectangle. In the picture, the big rectangle (blue and pink together) is a golden rectangle because $a/b=\backslash varphi$. The blue part (B) is a square. The pink part by itself (A) is another golden rectangle because $b/(ab)=\backslash varphi$. The big rectangle and the pink rectangle have the same form, but the pink rectangle is smaller and is turned.
The Fibonacci numbers are a list of numbers. A person can find the next number in the list by adding the last two numbers together. If a person divides a number in the list by the number that came before it, this ratio comes closer and closer to the golden ratio.
Fibonacci number  divided by the one before  ratio 

1  
1  1/1  = 1.0000 
2  2/1  = 2.0000 
3  3/2  = 1.5000 
5  5/3  = 1.6667 
8  8/5  = 1.6000 
13  13/8  = 1.6250 
21  21/13  = 1.6154... 
34  34/21  = 1.6190... 
55  55/34  = 1.6177... 
89  89/55  = 1.6182... 
...  ...  ... 
$\backslash varphi$  = 1.6180... 
