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I fear many will look at the heading of this chapter with the feeling that it, at least, will be of no value to them. But I would ask them to pause before they turn to what they will probably call the more practical parts of this manual; for the subject treated here lies at the very foundation of any work we may wish to do with needles and brushes.

I would like to impress upon all who wish to perfect themselves in decorative work the advantage of learning to draw and adapt, even if they do not invent their own designs. And this is a much easier thing to do than many think. I well remember the semi-despair that seized me when taking my first lesson in china painting, at being told by my instructor to draw what I wanted to paint. However, I found that by combining one or two flowers together, I had made what seemed then to me a very pretty design. And I have often thought that was about the most valuable lesson I ever received, for it showed me what could be done by effort, and encouraged me to depend on myself instead of on tracing paper. So much for a personal experience. Let me quote a high authority on this subject, Mr. Leland, of the Philadelphia Industrial School. In his "Manual of Drawing and Decorative Design" (a most suggestive and helpful pamphlet), he says:

"The first thing for the pupil to do is to become familiar with the lead pencil. I say the lead pencil—though if a black-board is accessible, it is to be insisted on that 7