ancy the truth to be that the _whole_
business should be opened up to all, and afterwards each should
gravitate to his place by natural fitness. For the cartoonist _once
having the whole craft_ requires more constant practice in drawing to
keep himself a good cartoonist than he would get if he also did all the
other work of each window; quantity being in this matter even essential
to quality. I think we must look for more monumental figures, achieved
by the delegation of minor craft matters, in short, by co-operation.
Nevertheless, I have never felt less certainty in pronouncing on any
question of my craft than in this particular matter; whether, to get the
best attainable results, one should do the whole of the work oneself. On
the other hand, I never felt _more_ certainty in pronouncing on any
question of the craft, than now in laying down as an absolute rule and
condition of doing good work at all: that one should be _able_ to do the
whole of the work oneself. _That_ is the key to the whole situation, but
it is not the whole key; for following close upon it comes the rule that
springs naturally out of it; that, being a master oneself, one must make
it one's object to train all assistants towards mastership also: to give
them the whole ladder to climb. This at least has been the case with the
work of my own which is shown in the other collotypes. There has been
assistance, but every one of those assisting has had the opportunity to
learn to make, and according to the degree of his talent is actually
able to make, the whole of a stained-glass window himself. There is not
a touch of painting on any of the panels shown which is not by a hand
that can also cut and lead and design and draw, and perform all the
other offices pertaining to stained-glass noted in the foregoing pages.

Speaking generally, I care not whether a man calls himself Brown, or
Brown and Co., or, co-operating with others, works under the style of
Brown, Jones and Robinson, so long as he observe four things.

(1) Not to direct what he cannot practise;

(2) To make masters of apprentices, or aim at making them;

(3) To keep his hand of mastery over the whole work personally at all
stages; and

(4) To be prepared sometimes to make sacrifices of profit for the sake
of the Art, should the interests of the two clash.

Such an one we must call an artist, a master, and a worthy craftsman. It
is almost impossible to describe the deadening influence which