The painter as lord and god of all he depicts
Painting conjures every landscape and surpasses poetry
A continuous text page continuing the Paragone. It closes the argument that painting is nature's granddaughter and kin of God, then in a new chapter proclaims the painter lord of all creation: he can generate beauty or monsters, deserts, shady groves, valleys, mountain peaks disclosing plains, and the horizon of the sea. A further chapter opens the direct comparison of poet and painter, holding painting worthier because it imitates nature's works rather than mere words. Several lines of untranscribed marginal notes appear in the left margin beside the chapter headings.
On this page
The painter is lord of every kind of subject
If the painter wishes to see beauties that make him fall in love, he is lord to generate them; and if he wishes monstrous, buffoonish, or pitiable things, he is their lord and god. Whatever exists in the universe by essence, presence, or imagination, he holds first in his mind and then in his hands, which in a single glance generate a proportioned harmony equal to the things themselves.
Conjuring deserts, valleys, peaks, and the sea horizon
The painter can generate deserted places, shady or dark spots in hot seasons, and warm places in cold seasons. He may show valleys, or from high mountain peaks disclose great plains, and beyond them the horizon of the sea; or from the low valleys the high mountains, and from the high mountains the low valleys and shores.
Painting worthier than poetry
Painting serves a worthier sense than poetry and renders the figures of nature's works with more truth than the poet. Nature's works are far worthier than words, which are man's work, for the works of men stand to those of nature as man stands to God. It is therefore a worthier thing to imitate the things of nature than in words to imitate the deeds and words of men.