Artistically speaking, it may be said that the perfectly symmetrical head is lacking in "character."
The oval face; the dual features the counterpart of each other; the measurement from the top of the head to the brows, from the brows to the base of the nose, from the base of the nose to the end of the chin, which are all fairly equal in length; the bow-shaped mouth; the eyes parted by the length of one eye, and so on, would constitute a symmetrical head.Although some such standard of measurement and regularity, both of face and in a similar way of the body, might serve the ends of the painter and sculptor of cold classic figures and certain decorative schemes, they can only help the painter who is a student of nature as so many points of departure, for you will rarely find in real life anything approaching the regularity of the classic figures. Still, underlying all our personal observations, there is a consciousness more or less developed of the "perfect," for when we talk of a man with a long nose, of a woman with a sort aristocratic upper lip, of a lean person or a short-limbed one, we are, perhaps unconsciously but no less certainly, comparing these features and characteristics with a set symmetrical standard of which we are conscious, and it is the variations from the standard- let it be of a leaf, of a hand, or of a face- that make for character.¹
¹ Solomon J. Solomon, The Practice of Oil Painting & Drawing, (Seeley, Service & Co. Ltd: London, 1952), pp. 49-50.