ld proverb says--"It is not the hood that makes the
monk," but the ascetic face you depict within it. Indeed, rather beware
of trusting even to the ordinary, well-recognised symbols in common use,
and being misled by them to think you have done something you have not
done; and rather withhold these until the other be made sure. Get your
figures dignified and your faces beautiful; show the majesty or the
sanctity that you are aiming at in these alone, and your saint will be
recognised as saintly without his halo of glory, and your angel as
angelic without his tongue of flame.

* * * * *

In my own practice, when drawing from the life, I make a great point of
keeping back all these ornaments and symbols of attribute, until I feel
that my figure alone expresses itself fully, as far as my powers go,
without them. No ornament upon the robe, or the crosier, or the sword;
above all, no circle round the head, until--the figure standing out at
last and seeming to represent, as near as may be, the true pastor or
warrior it claims to represent--the moment arrives when I say, "Yes, I
have done all I can,--_now_ he may have his nimbus!"

[3]

"how tastes of salt
The bread of others, and how is hard the passage
To go down and to go up by other's stairs."

--_Paradise,_ xvii. 58.

[4] Coningsby, Book iii. ch. i.

[5] "Sesame and Lilies," Lecture 1.

CHAPTER XIX

Of General Conduct and Procedure--Amount of Legitimate
Assistance--The Ordinary Practice--The Great Rule--The Second Great
Rule--Four Things to Observe--Art _v._ Routine--The Truth of the
Case--The Penalty of Virtue in the Matter--The Compensating
Privilege--Practical Applications--An Economy of Time in the
Studio--Industry--Work "To Order"--Clients and Patrons--And
Requests Reasonable and Unreasonable--The Chief Difficulty the
Chief Opportunity--But ascertain all Conditions before starting
Work--Business Habits--Order--Accuracy--Setting out Cartoon
Forms--An Artist must Dream--But Wake--Three Plain Rules.

Having now described, as well as I can, the whole of your equipment--of
hand, and head, and heart--your mental and technical weapons for the
practice of stained-glass, there now follow a few simple hints to guide
you in the use of them; how best to dispose your forces, and on what to
employ them. This must be a