The Associated Arts have all the same method of producing beauty: they throw pictures on the brain.[29] Sensorial or intellectual beauty, or both together, may be exhibited, but in the arts of the painter and sculptor the picture is transferred to the brain through the optic nerves, and is necessarily presented before the intellect can be brought to bear upon the impression. The arts of the poet and the story writer involve the presentation of a picture representing the complete composition, and in addition when the work is lengthy, of a series of pictures each of which strengthens the relief of the general design. The painter and sculptor each presents a complete picture, the meaning of which is immediately determined through the sense of sight, and the extent of the beauty is bounded by what can be recognized by this sense. All the signs necessary to perfect the composition are simultaneously indicated, the artist exhibiting at one blow a full description of what makes up his thing of beauty. But the poet cannot so produce a picture because he presents the parts successively and not simultaneously, and in the most important of all the forms which he represents--that of the human countenance--both beauty and expression have to be defined, and the separate elements are indescribable. Consequently, however, we may combine the features of a countenance as described by the poet, we cannot throw a picture of the whole upon our minds. A particular form of beauty must be presented to the eye before it can be mentally pictured. The poet therefore does not attempt to dovetail his picture of the human form with descriptive details, but relies upon imagery, suggestion, or other artifice, to indicate his meaning in the most rapid way possible.[30] The novelist is in the same position as the poet in this respect, except that some of the devices of the latter are denied him.