hts and shadows in order
to produce satisfactory results. The best way of examining your work is
by the use of a mirror. To the student the mirror is his best critic.
It is before this silent observer that he submits his work with the
certainty of receiving an honest criticism. At every step of your
progress look at your work in a good mirror, as here it is changed
about, the left side being the right side, and no error will escape
detection. Sometimes you will see that what appeared true was in
reality false, what seemed graceful in contour was distorted; here an
eye which you thought was looking at you quite straight now mocks you
from the glass in manifest obliquity; the mouth, which you thought had
a pleasant expression, now looks as disdainful as can be. And so all
through your work you will be startled; you will doubt the mirror.
Doubt it not; your work is false. If you will be convinced show it to
some competent artist, and he will confirm the judgment of the
impartial mirror. Experience will soon teach you to put such reliance
on its never capricious council that you will follow its suggestions
implicitly, and, when your work is altered, the result will satisfy you
invariably, that, as the proverb says of two heads, so two images are
better than one. When you have come to this conclusion there is not a
beauty of eighteen who will consult her glass (though it is true for a
somewhat lighter purpose,) more eagerly, more devoutly, more
frequently, or finally, we hope, with more triumphant satisfaction than
will you.

FOOTNOTES:

[Footnote C: Essays on Art by John Burnet, New York, Edward L. Wilson.]

STUDIO.

The amateur is not to consider the selection of his studio or work-room
of minor importance; the perspective, coloring, and the effect of the
portrait will all depend, in a great measure, upon the situation and
dimensions of the studio. It may be said in a general way that the
larger the apartment the better. To secure the effect which it is
essential to produce, there should be space enough left behind the
artist to permit him to step back from six to ten or twelve feet to
accurately view and see the effect of the portrait. I cannot urge too
strongly upon the amateur the usefulness of frequently viewing his work
from a distance. I would gladly save him the disappointment and chagrin
which I have myself experienced, when having neglected this precaution,
I have quite finished a portrait only to fin