and {90} the like; and these sciences are altogether alien to the poet. Therefore he is an agent who brings together diverse persons in order to strike a bargain; and if you wish to know the true function of the poet, you will find that he is no other than an assembler of goods stolen from other sciences, with which he makes a deceptive mixture, or more honestly said, a fictitious mixture. And with regard to this fiction the poet is free to compete with the painter, since it constitutes the least part of the painting. 28. The painter emulates and competes with nature. [Sidenote: Painting a second Creation] 29. He who blames painting blames nature, because the works of the painter represent the works of nature, and for this reason he who blames in this fashion lacks feeling. [Sidenote: The Painter Lord of All] 30. If the painter wishes to see beautiful things which will enchant him he is able to beget them; if he wishes to see monstrous things which terrify, or grotesque and laughable things, or truly piteous things, he can dispose of all these; if he wishes to evoke places and deserts, shady or dark retreats in the hot season, he represents them, and likewise warm places in the cold season. If he wishes valleys, if he wishes to descry a great {91} plain from the high summits of the mountains, and if he wishes after this to see the horizon of the sea, he can do so; and from the low valleys he can gaze on the high mountains, or from the high mountains he can scan the low valleys and shores; and in truth all quantities of things that exist in the universe, either real or imaginary, he has first in his mind and then in his hands; and these things are of so great excellence that they beget a harmonious concord in one glance, as do the things of nature. 31. We can safely say that those people are under a delusion who call that painter a good master who can only draw well a head or a figure. Certainly there is no great merit if, after studying a single thing during a whole lifetime, you attain to a certain degree of perfection in it. But knowing, as we do, that painting includes and comprehends all the works produced by nature, or brought about by the fortuitous action of man, and in fact everything that the eye can see, he seems to me to be a poor master who can only do one thing well. Now seest thou not how many and diverse acts are performed by men? Seest thou not how many various animals there are, and likewise trees, plants and flowers; what a variety of mountainous or level places, fountains, rivers, cities, public and private buildings, {92} instruments suitable for human use; how many diverse costumes and ornaments and arts? All these things should be considered of equal effect and value when used by the man who can be called a good painter. [Sidenote: Painting and Nature] 32.