A second sought to analyze the nature of this pleasure, and found its source to be in both cases the same. Beauty, our first idea of which is derived from corporeal objects, has universal laws which admit of wide application. They may be extended to actions and thoughts as well as to forms. A third, pondering upon the value and distribution of these laws, found that some obtained more in painting, others in poetry: that in regard to the latter, therefore, poetry can come to the aid of painting; in regard to the former, painting to the aid of poetry, by illustration and example. The first was the amateur; the second, the philosopher; the third, the critic. The first two could not well make a false use of their feeling or their conclusions, whereas with the critic all depends on the right application of his principles in particular cases. And, since there are fifty ingenious critics to one of penetration, it would be a wonder if the application were, in every case, made with the caution indispensable to an exact adjustment of the scales between the two arts. If Apelles and Protogenes, in their lost works on painting, fixed and illustrated its rules from the already established laws of poetry, we may be sure they did so with the same moderation and exactness with which Aristotle, Cicero, Horace, and Quintilian, in their still existing writings, apply the principles and experiences of painting to eloquence and poetry. It is the prerogative of the ancients in nothing either to exceed or fall short. But we moderns have in many cases thought to surpass the ancients by transforming their pleasure-paths into highways, though at the risk of reducing the shorter and safer highways to such paths as lead through deserts. The dazzling antithesis of the Greek Voltaire, that painting is dumb poetry, and poetry speaking painting, stood in no text-book. It was one of those conceits, occurring frequently in Simonides, the inexactness and falsity of which we feel constrained to overlook for the sake of the evident truth they contain. The ancients, however, did not overlook them. They confined the saying of Simonides to the effect produced by the two arts, not failing to lay stress upon the fact that, notwithstanding the perfect similarity of their effects, the arts themselves differ both in the objects and in the methods of their imitation, ὕλῃ καὶ τρόποις μιμήσεως.