Next, you are to observe that with this unusually positive realism of representation, there is also an unusually mystic spiritualism of conception. Nearly all the Madonnas, even of the most strictly devotional schools, themselves support the child, either on their knees or in their arms. But here, the Christ is miraculously borne by angels;—the Madonna, though seated on her throne, worships with both hands lifted. Thirdly, you will at first be pained by the decision of line, and, in the children at least, uncomeliness of feature, which are characteristic, the first, of purely-descended Etruscan work; the second, of the Florentine school headed afterwards by Donatello. But it is absolutely necessary, for right progress in knowledge, that you begin by observing and tracing decisive lines; and that you consider dignity and simplicity of expression more than beauty of feature. Remember also that a photograph necessarily loses the most subtle beauty of all things, because it cannot represent blue or grey colours, [75] and darkens red ones; so that all glowing and warm shadows become too dark. Be assured, nevertheless, that you have in this photograph, imperfect as it is, a most precious shadow and image of one of the greatest works ever produced by hand of man: and begin the study of it piece by piece. If you fancy yourself able to draw at all, you may begin by practice over and over again the little angular band on the forehead, with its studs, and the connected chain of pearls. There are seven pearls and fourteen studs; the fifteenth, a little larger, at the angle of the transparent cap; and four more, retiring. They are to be drawn with a fine brush and sepia, measuring the exact length of the band first; then marking its double curve, depressed in the centre, and rising over the hair, and then the studs and pearls in their various magnitudes. If you can’t manage these, try the spiral of the chair; if not that, buy a penny’s worth of marbles and draw them in a row, and pick up a snail shell, and meditate upon it, if you have any time for meditation. And in my Christmas Fors I will tell you something about marbles, and beads, and coral, and pearls, and shells; and in time—it is quite possible—you may be able to draw a boy’s marble and a snail’s shell; and a sea urchin; and a Doric capital; and an Ionic capital; and a Parthenon, and a Virgin in it; and a Solomon’s Temple, and a Spirit of Wisdom in it; and a Nehemiah’s Temple, and a Madonna in it. This photograph, then, is to be our first domestic possession in works of art; if any difficulty or improper cost occur in attaining it, I will name another to answer its purpose; but this will be No. 1 in our household catalogue of reference: which will never be altered, so that the pieces may always be referred to merely by their numbers.