As I mentioned in my first blog, The Ethics of Beauty is a multidisciplinary work that includes commentary based on the work of Christopher Alexander, an architectural theorist. [1] Alexander’s books outline his theory of patterns present in architecture and art that the human eye finds pleasing and the human soul finds nourishing. Alexander believed there is fundamentally one timeless way of building, as old as the world itself. It involves creating villages, homes, and public buildings where human beings can feel a sense of belonging and find meaning.
For example, Alexander noticed that certain medieval towns and villages contained features that people found pleasing and that they experienced a pleasant living environment. This leads to the opinion that we can discover certain patterns in these examples, which, when assembled appropriately, create a beautiful landscape. These patterns are not static but dynamic and emerging, which humans can use when creating living spaces. A practicing Roman Catholic, Alexander recognized the religious implications of his work. He believed there was a connection between the order of nature, traditional practices, the beliefs of various cultures, and recent scientific advancements.
The Order of Nature
There exists in nature what is sometimes called “The Golden Ratio.” The Golden Ratio, also known as the Golden Number, Golden Proportion, or the “Divine Proportion,” is a ratio between two numbers that equals approximately 1.618. Usually written as the Greek letter phi, it is strongly associated with the Fibonacci sequence, a series of numbers wherein each number is added to the last. The Fibonacci numbers are 0, 1, 1, 2, 3, 5, 8, 13, 21, and so on, with the ratio of each number and the previous number gradually approaching 1.618, or phi. [2]
Euclid’s Elements mentions the Golden Ratio from around 300 BCE. Euclid and other early mathematicians like Pythagoras recognized the proportion but didn’t call it the Golden Ratio. It wasn’t until later in human history that the proportion took on its current mystique. In 1509, Italian mathematician Luca Pacioli published the book De Divina Proportione, which, alongside illustrations by Leonardo da Vinci, praised the ratio as representing divinely inspired simplicity and orderliness.
The Golden Ratio is commonly found in the natural world and is regarded as pleasing by human beings. It appears in various aspects of nature, from the structure of seashells to that of certain flowers and other areas. Artists and others have discovered that the golden ratio is significant because humans find it aesthetically pleasing. Artists, architects, and designers have extensively used the golden ratio in creating visually appealing works of art.
Studies have shown that the golden ratio also impacts what features humans find beautiful. Certain ratios between aspects of the human face contribute to the sense of beauty, and people find certain ratios between the hands, arms, and other parts of the human body beautiful. The Golden ratio would seem to be an example of a feature of nature that contributes to the human experience of beauty and forms of foundation for aspects of the science of aesthetics.
The Roman Architect, Marcus Vitruvius Pollio, who wrote De Architectura (c. 25 B.C.), remarked on a similarity between the human body and a perfect building: “Nature has designed the human body so that its members are duly proportioned to the frame as a whole.” He inscribed the human body into a circle and a square, the two figures considered images of perfection. In recent times, mathematical analysis of physical features humans find beautiful has disclosed the importance of symmetry to the experience of beauty.
Leonardo da Vinci utilized the Golden Ratio in his artistic works. Most famously, the Mona Lisa (1503) was created using what is known as the Golden Section, which is applied in modern design systems. This technique produces organic and natural-looking compositions that are pleasing to the human eye. In other words, not only does the perfect ratio influence our perceptions of human beauty, but people also recognize beauty by incorporating that ratio into their own creative works, both artistic and architectural.
Patterns in Architecture and Life
In his book, The Timeless Way of Building, Christopher Alexander outlines simple patterns that humans use to create physical spaces and enjoy them as we inhabit them. Some of these patterns include limitations on four-story buildings, sacred sites, access to water, promenades, shopping streets, the presence of educational institutions, marketplaces, the inclusion of all ages—such as old people and children—small public squares, holy sites, ample parking, and parallel roads. Regarding human homes, Alexander mentions common areas at the heart of the house, flow-through rooms, tapestries of light and dark, a couple’s private realm, the children’s private spaces, farmhouse-style kitchens, private terraces, adequate light, beds in alcoves, windows overlooking outdoor life, child caves, secret places, and outdoor gardens.
The point is not the specific applicability of each of these patterns to every city or home but the fact that they are suitable for human beings, who require a certain kind of space to thrive. Both publicly and privately, we need buildings scaled for humans, sacred places, a connection with nature, and a diverse community. These human needs create patterns that architects and artists can use to foster human flourishing. Conversely, there are particular patterns, exemplified by the Stalinist architecture of Soviet Russia, that people find stifling.
The Quality without a Name
For Alexander and the author of The Ethics of Beauty, patterns mediate what is called the Quality Without a Name into our lives. The Quality Without a Name is that feeling of wholeness that emerges when we ihhabit physically, mentally and emotionally good life patterns. This idea that certain patterns promote human flourishing goes beyond art and architecture. Pattisis writes:
The quality without a name that arises in good patterns and good ritual is a gift of the twofold anointing of the Holy Spirit; that is why it can have a “bittersweet” quality, why the experience of it can make us sad. The quality without a name is God’s uncreated glory fed to us through the created world when we respond to that world liturgically.[3]
For Pattisis, humans can experience living through the power of the Holy Spirit. God has revealed Himself through the word in nature. For Pattisis and Orthodoxy generally, that quality we find so hard to name is our participation in something divine. For Christians, this means participating in the life of Christ, whose life provides the ultimate pattern for human flourishing. In the end, the Quality Without a Name is that which we experience when we encounter the Transcendent God.
In the letters of John, the author describes God as Light and Love (1 John 1:5; 4:8), as the perfection of both order and relationship. This perfection of order, or symmetry, and relational unity, found perfectly in God, is mediated through the word of God into human existence and impacts human life and human flourishing. While Christians may have a unique experience of this perfection of being in relationship, all of creation and all of humanity participate in this creative grace of God and can experience the benefits or detriments of following or not following, of appreciating or not appreciating, and of submitting to or not submitting to the ultimate patterns of creation.
This is a particularly important insight: Whenever any human engages with the Beautiful, the Good, and the True, they are participating in the life of God. Therefore, Christians can make common cause with all those who seek the Good, True, and Beautiful in whatever way they do so. (We don’t necessarily agree with their motivations but admire and support their quest.)
Beauty is and is Not a Matter of Choice
The thoughts of Alexander and Pattisis imply that beauty is not something irrational or sub-rational. It isn’t merely an opinion or a prejudice. The recognition of beauty is ingrained in the created order and within human beings as part of that order. However, it must be appreciated by the whole person—mind, body, and soul. It encompasses a rationality that is deeper than other forms of rationality, including the recognition of Truth and Goodness within it. Once again, for Christians, this beauty, this Quality Without a Name, involves sensing the Uncreated Light of God and the Love of God made manifest in the Word by the power of the Holy Spirit.[4]
Patterns and Plato
For Patisis, the Patterns represent a modern interpretation of the Platonic Forms. For Plato, the Forms existed outside of nature and were not necessarily incorporated within it. For Pattisis, these forms signify the potential for recognizing beauty, which must be integrated into a specific work of art, home, or building to be acknowledged as part of Beauty. Rather than static ideals, the patterns are dynamic and are actively incorporated into works of Beauty.
If an artist simply repeats a pattern or slavishly incorporates patterns as a kind of preexisting blueprint into a design, the result is deadening repetition, not beauty. Imitation is not a form of beauty. It is creation by incorporation that creates a work of art. The archetype does not dominate the creative work; it is incorporated within it. Thus, every act of creation is a marriage of the universal and the particular.[5]
Uniqueness and Pattern
As an Orthodox thinker, Pattisis believes that each human being achieves perfection by seeking to incorporate Christ, the ultimate model for human existence, into their individual lives. When a person falls in love with God in Christ, they begin a process of divinization, incorporating that aspect of God they can, given their human imperfections and limitations.
In fact, Pattisis goes beyond a merely human incorporation by implying that all of creation finds its “telos,” its proper end, as it incorporates the “pattern” of Christ into their limited level of existence:
All of creation does this, and this is the mystery of creation, its hidden side. Every existing thing is following this cruciform pattern, this path of loving God and loving neighbor, which is why when we sin against God or others, it is so painful to us. Because on the level of our existence as souls and bodies, as humans, part of us is still loving Christ (eros) in the logos of himself which he gives uniquely to us, and part of us is still choosing to die with him (agape) for the life of the world. [6]
In its unique way, all of creation—every created being, including humans—fulfills the twofold movement of God’s erotic love and self-sacrificial giving. It is part of God’s world and is in a relationship with God. I cannot help but see this as an application of a process-oriented way of viewing the world. According to process philosophy, reality has both a mental and physical pole. All of reality contains at least the potential for feeling and consciousness. This potential for consciousness means that the mental aspect of reality reaches all the way to its foundation.
One possible implication of this is that all of reality expresses, within its created limits, the love of God and the rationality of God through every act of its creation, maintenance, and ultimate passing away. Where conscious choices are made, as in the case of human beings, we either positively or negatively bring levels of love into our lives or the reverse. In either case, we are either bringing ourselves closer to the logos of God or further away. In either case, it increases the world’s loveliness or the reverse.
Copyright 2025, G. Christopher Scruggs, All Rights Reserved
[1] Tomothy Pattisis, The Ethics of Beauty (Maryville, MO: St. Nicholas Press, 2020).
[2] Adobe, “An Introduction to the Golden Ration” https://www.adobe.com/creativecloud/design/discover/golden-ratio.html (Downloaded May 26, 2025
[3] Ethics of Beauty, at 427.
[4] This is what I have called the “Deep Light” and “Deep Love” of the triune God. See, G. Christopher Scruggs, Centered Living/Centered Leading: The Way of Light and Love Rev. Ed. (Booksurge, 2016).
[5] Ethics of Beauty, at 436.
[6] Id, at 442.