As an extension of her previous work, the author analyzes the notion of ekphrasis and its particular modes of demonstration and realization. By referencing Edith Wharton’s House of Mirth, she defines or refines the definition of such central concepts as “maieutic ekphrasis,” the “ekphrastic moment,” and “monumental ekphrasis.” She argues for distinctions between the literary description of a “real” literary work and the description of an imaginary work, as it is understood according to “notional ekphrasis.” The propositions she formulates invite the reader to recognize the intermedial amplitude of ekphrasis, and to measure its extension: from the literary text, where it unfolds, to its border with art writing and the history of art.