…which touch it. But in truth this adds no fatigue to the craftsman, considering that he, like the painter, has true knowledge of all the boundaries of things seen from every direction; and this knowledge is always potentially present to the painter as to the sculptor. But the sculptor, having to cut away where he wishes to make the intervals between the muscles, and to leave standing where he wishes to make their reliefs, cannot render them with their due form—beyond having established their length and breadth—unless he moves sideways, bending or raising himself so that he sees the true height of the muscles and the true depth of their intervals; and these are judged by the sculptor from such a position, and by this means of the contours they are corrected, otherwise he will never set down well the boundaries or figures of his sculptures. And this manner they call fatigue of the mind for the sculptor, because he gains nothing but bodily fatigue; for as regards the mind, or judgement, he has only in such a profile to correct the contours of the limbs where the muscles are too high; and this is the proper routine of sculpture in bringing its works to completion. This routine is conducted by the true knowledge of all the boundaries of the figures of bodies from every side. The sculptor says that if he removes too much, he cannot add on again, as the painter can. To whom it is answered: if his art were perfect, he would have raised, by means of the knowledge of measurements, just what sufficed, and not in excess; which over-removal arises from his ignorance, which makes him remove more or less than he ought. But of these I do not speak, for they are not masters but spoilers