work more than would be
represented by two pence or three pence an hour.

But I fear that all suggestions as to mitigating this state of things
are of little use. The remedy is to play into each other's hands by
becoming, all of us, complete, all-round craftsmen; breaking down all
the unnatural and harmful barriers that exist between "artists" and
"workmen," and so fitting ourselves to take an intelligent interest in
both the artistic and economic side of our work.

The possibility of this all depends on the personal relations and
personal influence in any particular shop--and employers and employed
must worry the question out between them. I am content with pointing out
the facts.

CHAPTER XIV

Of Perfection--In Little Things--Cleanliness--Alertness--But not
Hurry--Realising your Conditions--False Lead-Lines--Shutting out
Light--Bars--Their Number--Their Importance--Precedence--Observing
your Limitations--A Result of Complete Training--The Special
Limitations of Stained-Glass--Disguising the Lead-Line--No full
Realism--No violent Action--Self-Effacement--No
Craft-Jugglery--Architectural Fitness founded on Architectural
Knowledge--Seeing Work _in Situ_--Sketching in Glass--The Artistic
Use of the Lead--Stepping Back--Accepting Bars and Leads--Loving
Care--White Spaces to be Interesting--Bringing out the "Quality" of
the Glass--Spotting and Dappling--"Builders-Glazing" _versus_
Modern Restoring.

The second question of principle that I would dwell upon is that of
_perfection_.

Every operation in the arts should be perfect. It has to be so in most
arts, from violin-playing to circus-riding, before the artist dare make
his bow to the public.

Placing on one side the question of the higher grades of art which
depend upon special talent or genius--the great qualities of
imagination, composition, form and colour, which belong to mastership--I
would now, in this book, intended for students, dwell upon those minor
things, the doing of which well or ill depends only upon good-will,
patience, and industry.

Anyone can wash a brush clean; any one can keep the colour on his
palette neat; can grind it all up each time it is used; can cover it
over with a basin or saucer when his work is over; and yet these things
are often neglected, though so easy to do. The painter will _neglect_ to
wash out his brush; and it will be clogged with pigment and gum, get
d