Poetry surpasses painting in the representation of words, and in the representation of actions painting excels poetry; and painting is to poetry as actions are to words, because actions depend on the eye and words on the ear; and thus the senses are in the same proportion one to another as the objects on which they depend; and on this account I consider painting to be superior to poetry. But since those who practised painting were for long ignorant as to how to explain its theory, it lacked advocates for a considerable time; because it does not speak itself, but reveals itself and ends in action, and poetry ends in words, which in its vainglory it employs for self-praise.
Painting is Mute Poetry
14.
What poet will place before thee in words, O lover, the true semblance of thy idea with such truth as will the painter? Who is he who will show thee rivers, woods, valleys and plains, which will recall to thee the pleasures of the past, with greater truth than the painter? And if thou sayest that painting is mute poetry in itself, unless there be some one to speak for it and tell what it represents—seest thou not, then, that thy book is on a lower plane? Because even if it have a man to speak for it, nothing of the subject which is related can be seen, as it is seen when a picture is explained. And the pictures, if the action represented and the mental attributes of the figures are in the true proportion one to another, will be understood in the same way as if they spoke.
15.
Painting is mute poetry, and poetry is blind painting. Therefore these two forms of poetry, or rather these two forms of painting, have exchanged the senses through which they should reach the intellect. Because if they are both of them painting, they must reach the brain by the noblest sense, namely, the eye; if they are both of them poetry, they must reach the brain by the less noble sense, that is, the hearing. Therefore we will appoint the man born deaf to be judge of painting, and the man born blind to be judge of poetry; and if in the painting the movements are appropriate to the mental attributes of the figures which is are engaged in any kind of action, there is no doubt that the deaf man will understand the action and intentions of the figures, but the blind man will never understand what the poet shows, and what constitutes the glory of the poetry; since one of the noblest functions of its art is to describe the deeds and the subjects of stories, and adorned and delectable places with transparent waters in which the green recesses of their course can be seen as the waves disport themselves over meadows and fine pebbles, and the plants which are mingled with them, and the gliding fishes, and similar descriptions, which might just as well be made to a stone as to a man born blind, since he has never seen that which composes the beauty of the world, that is, light, darkness, colour, body, shape, place, distance, propinquity, motion and rest, which are the ten ornaments of nature.
But the deaf man, lacking the less noble sense, although he has at the same time lost the gift of speech, since never having heard words spoken he never has been able to learn any language, will nevertheless perfectly understand every attribute of the human body better than a man who can speak and hear; and likewise he will know the works of painters and what is represented in them, and the action which is appropriate to such figures.
Painting is Mute Poetry
16.