[d] Central panel in a triptych of the Crucifixion, Hermitage, Petrograd. This picture has been sometimes attributed to Perugino, but it is unquestionably from the hand of Raphael. [e] See Titian's Jacopo Pesaro presented to St. Peter, Antwerp. [f] Charles V. at Mühlberg, Madrid. [g] Meeting of Joachim and Anna, Padua; and others. [h] Bronzino's Venus and Cupid, Uffizi, Florence. [i] Schiavone's Jupiter and Io, Hermitage. NOTE 65. PAGE 204 Lessing apparently overlooked the possibilities of landscape painting in his dictum as to progressive actions. He writes[a]: If painting on account of the signs and means of imitation which it employs, and which can only be combined in space, must entirely renounce time, then progressive actions cannot, in so far as they are progressive, be included in the number of its subjects, but it must content itself with coexistent actions, or with mere bodies, which on account of their position cause an action to be suspected. It is true that a series of progressive human actions cannot be included in one painting, but progressive natural actions can be so included when the progression is regular and repeated and the actions are clearly separated to the eye. Although the painter can only depict a moment of time, he can show the whole progression, which is not the case in a series of human actions, as in the example quoted by Lessing, of Pandarus arranging his bow, opening his quiver, choosing an arrow, and so on. Strange to say, De Quincey, in an explanatory note to Lessing's observations, also overlooks the movement of water broken by rocks, though he refers specially to landscape painting. He says[b]: In the succession of parts which make up appearance in nature, either the parts simply repeat each other (as in the case of a man walking, a river flowing, etc.), or they unfold themselves through a cycle, in which each step effaces the preceding, as in the case of a gun exploding, where the flash is swallowed up by the smoke effaced by its own dispersion. But for the purpose of the painter, the action of water breaking over ledges and boulders does not correspond with the case of a man walking or a river flowing, because the series of events forming the progression in the case of the water breaking, cover such time and space that the events can be distinctly separated by the eye. Clearly also this action should not be included in De Quincey's second category, because the repetition is both regular and (to all intents and purposes) perpetual. There should therefore be a third category to comprise those repeated progressive acts in which the events can be so separated by the eye as to be portrayed on canvas in the order of their progression, and in such a way that the whole progression, and the meaning of it, are at once apparent. [a] _Laocoon_, Phillimore translation. [b] Essay on "Lessing."