In the first place, sculpture is dependent on certain lights, namely those from above, while a picture carries everywhere with it its own light and shade; light and shade therefore are essential to sculpture. In this respect, the sculptor is aided by the nature of the relief, which produces these of its own accord, but the painter artificially creates them by art in places where nature would normally do the like. The sculptor cannot render the difference in the varying natures of the colors of objects; painting does not fail to do so in any particular. The lines of perspective of sculptors do not seem in any way true; those of painters may appear to extend a hundred miles beyond the work itself. The effects of aerial perspective are outside the scope of sculptors' work; they can neither represent transparent bodies nor luminous bodies nor angles of reflection nor shining bodies such as mirrors and like things of glittering surface, nor mists, nor dull weather, nor an infinite number of things which I forbear to mention lest they should prove wearisome.