through the weight of the tools, in contrast to the lightness of the brushes, of the styles, and of the pens, chalk-holders, and charcoals; besides this, that they exhaust their minds together with all the parts of their bodies, which is something very serious compared with the quiet and light work of the painter, using only his mind and hand. Moreover, they lay very great stress on the fact that things are more noble and more perfect in proportion as they approach more nearly to the truth, and they say that sculpture imitates the true form and shows its works on every side and from every point of view, whereas painting, being laid on flat with most simple strokes of the brush and having but one light, shows but one aspect; and many of them do not scruple to say that sculpture is as much superior to painting as is truth to falsehood. But as their last and strongest argument, they allege that for the sculptor there is necessary a perfection of judgment not only ordinary, as for the painter, but absolute and immediate, in a manner that it may see within the marble the exact whole of that figure which they intend to carve from it, and may be able to make many parts perfect without any other model before it combines and unites them together, as Michelagnolo has done divinely well; although, for lack of this happiness of judgment, they make easily and often some of those blunders which have no remedy, and which, when made, bear witness for ever to the slips of the chisel or to the small judgment of the sculptor. This never happens to painters, for the reason that at every slip of the brush or error of judgment that might befall them they have time, recognizing it themselves or being told by others, to cover and patch it up with the very brush that made it; which brush, in their hands, has this advantage over the sculptor's chisels, that it not only heals, as did the iron of the spear of Achilles, but leaves its wounds without a scar.