blooming; and now the bloom of youth has passed away from them?

Exactly.

Here is another point: The imitator or maker of the image knows nothing
of true existence; he knows appearances only. Am I not right?

Yes.

Then let us have a clear understanding, and not be satisfied with half
an explanation.

Proceed.

Of the painter we say that he will paint reins, and he will paint a bit?

Yes.

And the worker in leather and brass will make them?

Certainly.

But does the painter know the right form of the bit and reins? Nay,
hardly even the workers in brass and leather who make them; only the
horseman who knows how to use them--he knows their right form.

Most true.

And may we not say the same of all things?

What?

That there are three arts which are concerned with all things: one which
uses, another which makes, a third which imitates them?

Yes.

And the excellence or beauty or truth of every structure, animate or
inanimate, and of every action of man, is relative to the use for which
nature or the artist has intended them.

True.

Then the user of them must have the greatest experience of them, and
he must indicate to the maker the good or bad qualities which develop
themselves in use; for example, the flute-player will tell the
flute-maker which of his flutes is satisfactory to the performer; he
will tell him how he ought to make them, and the other will attend to
his instructions?

Of course.

The one knows and therefore speaks with authority about the goodness and
badness of flutes, while the other, confiding in him, will do what he is
told by him?

True.

The instrument is the same, but about the excellence or badness of it
the maker will only attain to a correct belief; and this he will gain
from him who knows, by talking to him and being compelled to hear what
he has to say, whereas the user will have knowledge?

True.

But will the imitator have either? Will he know from use whether or no
his drawing is correct or beautiful? or will he have right opinion
from being compelled to associate with another who knows and gives him
instructions about what he should draw?

Neither.

Then he will no more have true opinion than he will have knowledge about
the goodness or badness of his imitations?

I suppose not.

The imitative artist will be in a brilliant state of intelligence about
his own creations?

Nay, very much the reverse.

And still he will go on imitating without k