uld be to the left of the centre of the
wall rather than to the right, as you face it; so that when you are
as near the side wall as you can get, with the light over your left
shoulder (as it should be), the light will strike on the canvas well,
and not too directly on the front of the model. It will give you a
better lateral position to the window, in other words. If you have to
accept a window in a side wall, this is even more to be looked for. If
the window is to the right of the centre, you will have a strong
side-light on your model; but you will either have no light on your
canvas, or you will have to turn so that the light falls on your
canvas from the right, which is awkward, as the paint is in the shadow
of the hand and brush which puts it on.

The height of the lower part of the window should be at least six feet
from the floor, and for ordinary purposes the proportion of window
space to floor space should be about one-tenth. It is impossible to
give a rule; but if the floor is about twelve feet by sixteen, say, a
window about five feet by four will be enough, or six and a half by
three if it is placed horizontally. If you want intense light with
strong contrast of light and shade on your model, have the window
smaller and squarer, and place your easel just under it, where the
light is good. The rest of the room will be dark. Better have the
window large enough, and have it so curtained that you can cut off as
much light as you need to. All this is if you are going to make
yourself a window; in which case you will think well before you commit
yourself. More probably you will have to get along as best you can
with the ordinary room and the ordinary window. In which case get a
high room with the window running up as close to the ceiling as
possible, and facing north, then you can curtain it so as to control
the light.

=Arrangement of Ordinary Windows.=--For a good working light you
should have only one window in your room; for the light coming in from
two openings will make a crossing of rays which will not only
interfere with the simplicity of the effect of light and shade on your
model, but will make a glare on your canvas. You can either close the
light out of the right-hand window, or, better, arrange a curtain so
the light from one window will not fall on the same place as that from
the other.

When you are working from still life or from a model this is often an
advantage, for you can have a strong si