But does the painter know the right form of the bit and reins? Nay, hardly even the workers in brass and leather who make them; only the horseman who knows how to use them--he knows their right form. Most true. And may we not say the same of all things? What? That there are three arts which are concerned with all things: one which uses, another which makes, a third which imitates them? Yes. And the excellence or beauty or truth of every structure, animate or inanimate, and of every action of man, is relative to the use for which nature or the artist has intended them. True. Then the user of them must have the greatest experience of them, and he must indicate to the maker the good or bad qualities which develop themselves in use; for example, the flute-player will tell the flute-maker which of his flutes is satisfactory to the performer; he will tell him how he ought to make them, and the other will attend to his instructions? Of course. The one knows and therefore speaks with authority about the goodness and badness of flutes, while the other, confiding in him, will do what he is told by him? True. The instrument is the same, but about the excellence or badness of it the maker will only attain to a correct belief; and this he will gain from him who knows, by talking to him and being compelled to hear what he has to say, whereas the user will have knowledge? True. But will the imitator have either? Will he know from use whether or no his drawing is correct or beautiful? Or will he have right opinion from being compelled to associate with another who knows and gives him instructions about what he should draw? Neither. Then he will no more have true opinion than he will have knowledge about the goodness or badness of his imitations? I suppose not. The imitative artist will be in a brilliant state of intelligence about his own creations? Nay, very much the reverse. And still he will go on imitating without knowing what makes a thing good or bad, and may be expected therefore to imitate only that which appears to be good to the ignorant multitude? Just so. Thus far then we are pretty well agreed that the imitator has no knowledge worth mentioning of what he imitates. Imitation is only a kind of play or sport, and the tragic poets, whether they write in iambic or in Heroic verse, are imitators in the highest degree? Very true. And now tell me, I conjure you, has not imitation been shown by us to be concerned with that which is thrice removed from the truth? Certainly. And what is the faculty in man to which imitation is addressed? What do you mean? I will explain: The body which is large when seen near, appears small when seen at a distance? True.