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tion and rhythm, and this is the simple body of poetry, invention as regards the subject matter and rhythm as regards the verse, which he afterwards clothes with all the sciences. To which the painter rejoins that he is governed by the same necessities in the science of painting, that is to say, invention and measure (fancy as regards the subject matter which he must invent, and measure as regards the matters painted), so that they may be in proportion, but that he does not make use of three sciences; on the contrary it is rather the other sciences that make use of painting, as, for instance, astrology, which effects nothing without the aid of perspective, the principal link of painting,—that is, mathematical astronomy and not fallacious astrology (let those who by reason of the existence of fools make a profession of it, forgive me). The poet says he describes an object, that he represents another full of beautiful allegory; the painter says he is capable of doing the same, and in this respect he is also a poet. And if the poet says he can incite men to love, which is the most important fact among every kind of animal, the painter can do the same, all the more so because he presents the lover with the image of his beloved; and the lover often does with it what he would not do with the writer's delineation of the same charms, i.e. talk with it and kiss it; so great is the painter's influence on the minds of men that he incites them to love and

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