Here in this chapter Jacqueline Lichtenstein focuses on Platonic Cosmetics, beginning with flattery, where she notes that the search to please without concern for betterment is at once, according to Plato, “ugly”. This response is to used by Plato to pull legitimacy away from the artifice of seduction and place it in such a way that it must justify itself. From here we are brought to the subject of painting, a highly cosmetic art that seduces with regard to reality and nature. As Plato called it, “painting is three removes from nature”, and in other words, a mimesis. Again, she points out that Plato explicitly stated that imitation should never be judged in terms of beauty but rather of truth. Whether we agree with him or not, she points out that we can all say he had a deep understanding on the power of the image, and how power itself can endanger truth. We can conclude that Plato did not condemn painting but rather sought to argue the theory of mimesis as well as the definition of persuasive discourse. Painting, a surface of lines and colors and an imitation through forms and colors, is an act of seduction with the effects of illusion and pleasure. I suppose in the end, the question we are left with is how can we justify a work of art as beautiful?