The following is an example of a still life composition which may be easily arranged:
A small writing-table is covered with dark sapphire blue velvet or plush. A little left of the center, and far back on the table, stands a large heavy crystal inkstand, set in a small japanned tray. Some sheets of very pale blue and creamy white note paper, with one or two envelopes, lie carelessly to the right, and partly in front of the inkstand.
On the left is a small brass candlestick, holding a white wax candle, and across its base are thrown a white quill, and a steel pen with polished black handle.
In the foreground to the left of the center is a small bronze ash holder, against which lies a stick of red sealing- wax with one end resting on the table, and partly in front of the inkstand. On top of the writing paper is thrown an old envelope which has been opened, showing a large red seal partly broken.
The background to this study is a piece of Persian stuff of mixed colors, rich and harmonious in tone. This could be replaced by the wrong side of an Indian or broche shawl. This drapery hangs straight, as if on a wall or screen directly behind the table.
Let this study be placed in front of a window, a little to one side, and arranged with the end of the table toward the window. In this way the light and shade will be agreeably distributed.
In composing such a study it is important to avoid all appearance of stiffness and regularity. As a rule, the prominent central object should not be exactly in the middle of the canvas, but a little to one side. And it is important also that two objects of the same general size and height should not be placed equally distant from a central object.
The study is first sketched in with charcoal, and then outlined with burnt sienna and ivory black diluted with turpentine as already described.
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