Looking at the “Last Supper,” one is sure to perceive the orderliness of the lines and the inherited regularity even if they have never heard of the Golden Section Rule. As such, the use of this technique makes a viewer to spend more time on the examination of the painting. Let us suppose that the Da Vinci did not use the rule and the Apostles would be placed in a random manner. In this case, the painting would immediately lose its pathos and sonority. Moreover, one would hardly want to spend much time examining it, since it is tiresome to distinguish myriads of objects erratically placed throughout the canvas. Bearing this idea in mind, it is rational to assume that photographers likewise exploit the rule to add value to their works. Thus, for instance, Eggleston’s “Graceland” produces some inexplicable impression of order and perfection. On the face of it, the room’s design is highly irregular. However, a viewer is sure to fee that there is some systematic formula hiding behind this irregularity. It might be assumed that the photographer has spent a long time to find the right angle from which he could capture these perfect proportions.
The fact that the use of the “Golden ratio” rule helps to bring in some additional charm and mystery to a work of art can be illustrated by the comparison of the two famous pieces such as Leonardo Da Vinci’s “Mona Lisa” and Henri Cartier Bresson’s “Children on a Staircase.” In both cases, the use of the “Golden Ration” is not as evident as it is in the previously analyzed examples. The viewer feels its presence because he or she cannot pass on to the next painting being stopped by an inexplicable desire to unravel some puzzle incorporated into these pieces. As such, the creators enforce the audience to give their works a due consideration by using this rule.