Ruskin, John: The elements of drawing: in three letters to beginners (London, 1857)

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THE ELEMENTS OF DRAWING. [letter in.

arms in precisely the same position at each side,
your head upright, your body straight; divide your
hair exactly in the middle, and get it as nearly as
you can into exactly the same shape over each ear;
and you will see the effect of accurate symmetry:
you will see, no less, how all grace and power in the
human form result from the interference of motion
and life with symmetry, and from the reconciliation
of its balance with its changefulness. Your position,
as seen in the .mirror, is the highest type of symmetry
as understood by modern architects.

In many sacred compositions, living symmetry,
the balance of harmonious opposites, is one of the
profoundest sources of their power : almost any works
of the early painters, Angelico, Perugino, Giotto,
&c, will furnish you with notable instances of it.
The Madonna of Perugino in the National Grallery,
with the angel Michael on one side and Eaphael on
the other, is as beautiful an example as you can
have.

In landscape, the principle of balance is more or
less carried out, in proportion to the wish of the