Fig. 22a.
How to complete the Outline better than you possibly can by One Tracing.—When you take up a bit of glass from the table, after having done all you can to make a correct tracing, you will be disappointed with the result. It will have looked pretty well on the table with the copy showing behind it and hiding its defects, but it is a different thing when held up to the searching daylight. This must not, however, discourage you. No one, not the most skilful, could expect to make a perfect copy of an original (if that original had any fineness of line or sensitiveness of touch about it) by merely tracing it downwards on the bench. You must put it upright against the daylight, and mend your drawing, freehand, faithfully by the copy.
These remarks do not, in a great degree, apply to the case of hard outlines specially prepared for literal translation. I am speaking of those where the outline is, in the artistic sense, sensitive and refined, as in a Botticelli painting or a Holbein drawing, and to copy these well you want an easel.
For this small work any kind of frame
with a sheet of glass in it, and a ledge to rest your bit of glass on and a leg to stand out behind, will do, and by all means get it made (fig. 23); but do not spend too much on it, for later on you will want a bigger and more complicated thing, which will be described in its proper place—that is to say, when we come to it; and we shallcome to it when we come to deal with work made up of a number of pieces of glass, as all windows must be.
Fig. 23.
This that you have now, not being a window but a bit of glass to practise on, what I have described above will do for it.
A note to be always industrious and to work with all your might.—I advise you to put