If, now, we can divide an object by a plane into two halves so that each half, as seen in the reflecting plane of division, is a reproduction of the other half, such an object is termed symmetrical, and the plane of division is called the plane of symmetry. If the plane of symmetry is vertical, we can say that the body is vertically symmetrical. An example of vertical symmetry is a Gothic cathedral. If the plane of symmetry is horizontal, we can say that the object is horizontally symmetrical. A landscape on the shores of a lake with its reflexion in the water, is a system of horizontal symmetry. Exactly here is a noticeable difference. The vertical symmetry of a Gothic cathedral strikes us at once, whereas we can travel up and down the whole length of the Rhine or the Hudson without becoming aware of the symmetry between objects and their reflexions in the water. Vertical symmetry pleases us, whilst horizontal symmetry is indifferent, and is noticed only by the experienced eye. Whence arises this difference? I say from the fact that vertical symmetry produces a repetition of the same sensation, while horizontal symmetry does not. I shall now show that this is so. Let us look at the following letters: d b q p It is a fact known to all mothers and teachers, that children in their first attempts to read and write, constantly confound d and b, and q and p, but never d and q, or b and p. Now d and b and q and p are the two halves of a _vertically_ symmetrical figure, while d and q, and b and p are two halves of a _horizontally_ symmetrical figure. The first two are confounded; but confusion is only possible of things that excite in us the same or similar sensations. Figures of two flower-girls are frequently seen on the decorations of gardens and of drawing-rooms, one of whom carries a flower-basket in her right hand and the other a flower-basket in her left. All know how apt we are, unless we are very careful, to confound these figures with one another. While turning a thing round from right to left is scarcely noticed, the eye is not at all indifferent to the turning of a thing upside down. A human face which has been turned upside down is scarcely recognisable as a face, and makes an impression which is altogether strange. The reason of this is not to be sought in the unwontedness of the sight, for it is just as difficult to recognise an arabesque that has been inverted, where there can be no question of a habit. This curious fact is the foundation of the familiar jokes played with the portraits of unpopular personages, which are so drawn that in the upright position of the page an exact picture of the person is presented, but on being inverted some popular animal is shown.