 Nevertheless, even though epistêmê is tied to forms, it still has a role in technê. First, at the beginning of Republic VI, Socrates gives his interlocutors a peculiar description of what the philosopher will do with this knowledge of reality. Converting Socrates’ negative description of the non-philosopher, we find that the philosopher has a knowledge (gnôsis) of the reality of each form, thus a clear paradigm in his soul. Like painters, philosophers look to (apoblepontes) the truest paradigm, always referring to it and contemplating it as accurately as possible; in this way they establish here the laws respecting the fine, the just, and the good, if there is need to establish them, or take care to preserve those that are established (484c–d). By comparing philosophers to painters who imitate a paradigm, Socrates is giving to the knowledge of forms a role within a kind of craft which imitates forms. This notion of imitating forms is an important one for Plato; he uses it again in the account of creation in the Timaeus. At 28a, the Demiurge — the craftsman of the universe — looking at (blepôn) that which does not change and using it as a paradigm, fashions its form and power into his creation. In the subsequent passage we learn that this unchanging paradigm is the intelligible animal that contains all other intelligible animals (30c–d).