The most worthy thing is that which satisfies the most worthy sense; therefore painting, which satisfies the sense of sight, is more worthy than {86} music, which merely satisfies the hearing. The most worthy thing is that which endures longest; therefore music, which is continually dying as soon as it is born, is less worthy than painting, which lasts eternally with the colours of enamel. The most excellent thing is that which is the most universal and contains the greatest variety of things; therefore painting must be set above all other arts, because it contains all the forms which exist and also those which are not in nature, and it should be glorified and exalted more than music, which deals with the voice only. With it images are made to the gods; around it divine worship is conducted, of which music is a subservient ornament; by means of it pictures are given to lovers of their beloved; by it the beauties are preserved which time, and nature the mother, render fitful; by it we retain the images of famous men. And if thou wert to say that by committing music to writing you render it eternal, we do the same with letters. Therefore, since thou hast included music among the liberal arts, thou must either exclude it, or include the art of letters. And if thou wast to say: Painting is used by base men, in the same way is music spoilt by him who knows it not. If thou sayest that sciences which are not mechanical are mental, I will answer that painting is mental. And just as music and geometry deal with the proportions of continuous quantities, and {87} arithmetic deals with discontinuous quantities, painting deals with all quantities and the qualities of the proportions of shadows, lights and distances, in its perspective. [Sidenote: Painter and Musician] 26. The musician says that his art can be compared with that of the painter because by the art of the painter a body of many members is composed, and the spectator apprehends its grace in as many harmonious rhythms ... as there are times in which it lives and dies; and by these rhythms ... its grace plays with the soul, which dwells in the body of the spectator. But the painter replies that the body composed of human limbs does not afford the delectable harmonious rhythms in which beauty must live and die, but renders it permanent for many years, and is of such great excellence that it preserves the life of this harmony of concordant limbs which nature with all her force could not preserve. How many pictures have preserved the semblance of divine beauty of which time or death had in a brief space destroyed the living example: and the work of the painter has become more honoured than that of nature, his master!