Classical and romantic beauty

27 February 2026

In 1948, François Le Lionnais (1901–84) published an essay in which he distinguished two types of beauty in mathematics:123

The nine-point circle of a triangle, which passes through the three midpoints of the sides, the feet of the three altitudes, and the mid-points of the three segments between the orthocentre and the vertices.

Classical beauty was found where there was unification, such as in the 9-point circle of a triangle (which passes through the three midpoints of the sides, the feet of the three altitudes, and the mid-points of the three segments between the orthocentre and the vertices), or how the circle, ellipse, hyperbola, and parabola all arise from the focus–directrix construction and from conic sections, and can transformed into one another by projective transformations.5

Various hyperbolae, the parabola, and various ellipsis, which are the loci of points with fixed ratios between distances to a fixed focus point F and ‘directrix’ line l.

Romantic beauty could arise from unexpectedness, such as the formulae for the volumes and surface areas of $n$-dimensional unit spheres, namely \[ V_n(R) = \frac{\pi^{n/2}}{\Gamma(1+n/2)}R^n \quad \text{and} \quad A_n(R) = \frac{2\pi^{n/2}}{\Gamma(n/2)}R^{n-1}, \] reaching their maximums at non-integer values.6

Graphs of the values taken by the formulae for the volume and surface area of an n-dimenisonal sphere, for varying n. Both graphs increase to a peak and then decrease. Both graphs reach a maximum at non-integer values for n: the volume formula between 7 and 8, and the surface area between 5 and 6.

Another locus of romantic beauty was the tractroid pseudosphere, which is defined by rotating the tractrix defined by \[ x = \log\frac{1+\sqrt{1-y^2}}{y} - \sqrt{1-y^2} \] (shown in red for $x \geq 0$) about the $x$ axis. Its romantic beauty was due to it being in some ways close to the sphere, having constant Gaussian curvature (negative, while the sphere’s is positive), and the same surface area as the sphere, and finite volume (equal to half of the sphere), but was in other respects wild, having infinite extent.7

The tractroid pseudosphere, which resembles two horns joined at their widest parts, with narrowest points aimed at +/- x.

The cycloid had both classical beauty — in its simple definition — and romantic beauty — in its unexpected appearance as the solutions to the tautochrone and brachistochrone problems, contrary to intuition.8

Notes

  1. A. J. Cain. Form & Number: A History of Mathematical Beauty. Lisbon, 2024. pp. 671–7. 

  2. F. Le Lionnais. ‘La Beauté en Mathématiques’. In: F. Le Lionnais, ed. Les Grands Courants de la Pensée Mathématique. L’Humanisme Scientifique de Demain. Cahiers du Sud, 1948. 

  3. F. Le Lionnais. ‘Beauty in Mathematics’. In: F. Le Lionnais, ed. Great Currents in Mathematical Thought, vol. 2. New York: Dover, 1971. ISBN978-0-486-62724-3. (Note: translation is sometimes very free, and some quotations have been distorted by being translated from English to French and back.) 

  4. F. Le Lionnais. ‘La Beauté en Mathématiques’. pp. 438–440, 444. 

  5. F. Le Lionnais. ‘La Beauté en Mathématiques’. pp. 440–1, 449–50. 

  6. F. Le Lionnais. ‘La Beauté en Mathématiques’. p. 448 

  7. F. Le Lionnais. ‘La Beauté en Mathématiques’. p. 462. 

  8. F. Le Lionnais. ‘La Beauté en Mathématiques’. p. 446. 

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