And the truth we have just mentioned is that which brings painting into closer relation with _poetry._ Both arts have in this respect an advantage[314], and from another point of view, also a disadvantage. Painting is unable to give us the development of a situation, event, or action, as poetry or music, that is to say, in a _series_ of changes; it can only embody one moment of time. A simple reflection is deducible from this, namely, that we must in this one moment have placed before us the substance of the situation or action in its entirety, the very bloom of it; consequently, that moment should be selected in which all that preceded and followed it is concentrated in one point. In the case of a battle, for example, this moment will be that of victory. The conflict is still apparent, but its decisive conclusion is equally so. The artist is able, therefore, to retain as it were the residue of the Past, which, in the very act of withdrawal and disappearance, still asserts itself in the Present, and furthermore can suggest what has yet to be evolved as the immediate result of a given situation. I cannot, however, here enlarge further on this head. The painter, however, together with this disadvantage as against the poet, is to this extent advantaged in that he can bring the precise scene before our vision in all the appearance of its reality, can depict it perfectly in all its detail. "_Ut pictura poesis erit_" is no doubt a favourite saying which is particularly and pertinaciously advanced by theorists, and is no doubt actually accepted and exemplified by narrative poetry in its descriptions of the seasons, its flowers, and its landscapes. Detailed transcription of such objects and situations is, however, not only a very dry and tedious affair, and indeed, so far from being exhaustive, always leaves something more to say. It is, further, contrasted with painting, only a confusing result, because it is forced to present as a successive series of ideas what painting sets before our vision once and for all, so that we constantly tend to forget what has gone before and lose it from our minds, despite the fact that it should be held in essential relation with that which follows, inasmuch as under the spatial condition it is in fact a part of it, and only is significant in this association and this immediacy. It is, however, just in this contemporaneous exposition of detail that the painter can restore that which, in respect to the progressive series of past and future events, he fails to secure.