easant colours and fine and delicate sheen and the
glitter of silk and jewels--well and good, these things will serve; but
if they fail to satisfy, go to St. Philip's, Birmingham, and see the
solemnities and tragedies of Life and Death and Judgment, and all this
will dwindle down into the mere upholstery and millinery that it is.

_Drawing from Nature._--There is a side of drawing practice almost
wholly neglected in schools, which consists, not in training the eye and
hand to correctly measure and outline spaces and forms, but in training
the finger-ends with an H.B. pencil point at the end of them to
illustrate texture and minute detail. It is necessary to look at things
in a large way, but it is equally necessary to look at them in a small
way; to be able to count the ribs on a blade of grass or a tiny
cockle-shell, and to give them in pencil, each with its own light and
shade. I find the whole key to this teaching to lie in one golden
rule--_not to frighten or daunt the student with big tasks at first_. A
single grain of wheat, not a whole ear of corn; some tiny seed, tiny
shell; but whatever _is_ chosen, to be pursued with a needle-pointed
pencil to the very verge of lens-work. I must yet again quote Ruskin.
"You have noticed," he says,[9] "that all great sculptors, and most of
the great painters of Florence, began by being goldsmiths. Why do you
think the goldsmith's apprenticeship is so fruitful? Primarily, because
it forces the boy to do small work and mind what he is about. Do you
suppose Michael Angelo learned his business by dashing or hitting at
it?"

_Ornamental Design._--It is impossible here to enter into a description
of any system of teaching ornament. At p. 294 I have given just as much
as two pages can give of the seed from which such a thing may spring.
In some of the collotypes from the finished glass the patterns on quarry
or robe which spring from this seed may be traced--very imperfectly, but
as well as the scale and the difficulties of photography and the absence
of colour will allow.

What I find best, in commencing with any student, is to start four
practices together, and keep them going together step by step, side by
side, through the course, one evening for each, or some like division.

_Technical Work._--Cutting, glazing, &c.

_Painting Work._--By graduated examples, from simple outline up to a
head of Botticelli.

_Ornament_, as described; and

_Drawing from Nature_, in the spirit