y of techniques that can generally be described as sculpture, engraving and painting (Leroi-Gourham 1980/1982). Although many art pre-historians have failed to acknowledge the existence of symmetry in these early works, Leroi-Gourham (1981/82) has identified three different forms of symmetry in Paleolithic art: mirror symmetry, symmetry of mass and oblique symmetry. Mirror symmetry – "two halves of the subject are repeated in inverted positions", is represented by Mammoths facing each other in a cave at Rouffignac, France (Leroi-Gourhan, 1981/82, p. 25) Although some Paleolithic artworks may be considered rudimentary by today's standards, many of the cave paintings are breath-taking in their beauty. With the exception of a sense of movement, all of the components deemed essential by modern fine art standards were demonstrated in their naturalistic representations. Most interesting was the inclusion of symmetry in the artist's techniques. Although cultures all over the world have developed into incredibly diverse structures and forms, there is a unifying use of symmetry that appears crossing cultures, space, and time, and it began with the first identifiable culture during the Paleolithic era. Symmetry is an important, pervasive element of nature, art, and science. It denotes a pattern of identical or, at least, similar shapes used in balance on either side of a common axis. It is readably ide
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