But although the poet or novelist cannot put together the parts in his description, he may in certain cases present natural beauty to the mind, his scope depending upon the nature of the parts and the extent to which they depend upon each other for the completion of the picture. Where the beauty of the whole rests upon a combination of perfected parts of form only, as in the case of a horse, then the poet is able to present beauty of form notwithstanding that the separate parts are in themselves not beautiful, though the beauty would be that of the type and not of the individual. The beauty of a horse depends upon its possession of a collection of features which have each a particular significance. If we are able to recognize from a description that a horse has qualities of form and action indicating speed, high spirits, proud bearing, and so on, and at the same time has a harmonious symmetry in its general outline, a beautiful animal is thrown on the mind without difficulty. We readily picture the courser described by Shakespeare in his _Venus and Adonis_ as a beautiful horse, but we should not be able to differentiate it from the courser of Mazeppa. Where the parts of the thing described are in themselves beautiful, then the poet may successfully throw on the mind a series of pictures of æsthetic interest. Thus, he may call to the imagination parts of a landscape which are in themselves beautiful scenes, as for instance a deep gorge opening on to a lake, or a flowery valley, though the parts could not be put together on the mind so that the beauty of the whole may be presented.[31] Summing up the limits of the Associated Arts in the presentation of the two kinds of beauty, the poet and the novelist can present general or particular beauty of mind, and general sensorial beauty, but are powerless with particular sensorial beauty; the sculptor and painter may present general or particular sensorial beauty, and general, but not particular, beauty of mind. Particular sensorial beauty may be suggested by the poet or novelist, by indicating its emotional effect, or by symbols in the form of metaphor; and particular intellectual beauty may be suggested by the sculptor or painter by representing the effect in expression of a particular action, or by symbols in the form of human figures of beauty. [Illustration: PLATE 8 (See page 139) Raphael's Sistine Madonna, with the Face of the Central Figure in Fragonard's "The Pursuit" Substituted for that of the Virgin]