place a hidden vein in an arm anywhere he likes; for such things as these
are very false. But should he, in order better to retain the decorum of
the place and time, alter some of the limbs (as in grotesque work, which
without that would indeed be without grace and therefore false) or a part
of one thing into another species such as to change a griffin or a deer
from the middle downwards into a dolphin, or from thence upwards into any
figure he may wish, putting wings instead of arms, putting off arms if
wings suit it better, that limb which he changes, whether of a lion, horse
or bird, will be quite perfect of the species to which it belongs; and
this although it may appear false can only be called well imagined and
monstrous. The reason is it is better decoration when, in painting, some
monstrosity is introduced for variety and a relaxation of the senses and
to attract the attention of mortal eyes, which at times desire to see that
which they have never yet seen, nor does it appear to them that it can be
more unreasonable (although very admirable) than the usual figures of men
or animals. And so it is that insatiable human desire took licence and
neglected at times buildings with columns and windows and doors for others
imitated in false grotesque, the columns of which are made of children
springing from the leaves of flowers, with the architraves and summit of
branches of myrtle and gates of canes and other things, which appear to be
very impossible and out of reason, and yet all this is very grand if done
by one who understands it."

He ended, and I said:

"Does it not seem to you, Senhor, that this feigned work is much more
suitable for ornament in its proper place (such as a country seat or a
pleasure house) rather than, for instance, a procession of friars, which
is a very natural thing, or a King David doing penance, is it not a great
insult to drag him from his oratory? And does not the god Pan playing on
the pipes, or a woman with the tail of a fish and wings (which is seldom
seen), appear to you to be a more suitable painting for a garden or for a
fountain? And it is a much greater falsity to put an imagination in a
place where the real is demanded, and this reasoning explains all the
things which some call 'impossibilities' in painting. Still the obstinate
will say: 'How can a woman with a beautiful face have the tail of a fish
and the legs of the swift deer or panther, with wings on her back like an
angel?'