In copying nature there are two essential things: single-mindedness, and fixed observation. Single-mindedness comes from concentration. The artist must realize that it is the hand that can keep still which is capable of holding the brush; and so it is only the mind that can stand still which has the power to copy. By fixed observation is meant the capability of holding the gaze in focus, and by the latter is meant the penetrating glance. It depends a great deal upon the object that the artist paints. If its beauty is catching the eyes and the mind of the artist, and if it can hold the interest of the artist, it helps the artist to paint. There is always one thing that works against the artist: that is his every-changing temperament. It may work so actively that it may take away his fixed glance towards something more glaring, and thereby he may not have the patience to persevere in observing the one object before him.

Though the changeableness of the artist in a way shows the liquidity of his mind, which is natural to him, still his control over that changeableness brings his efforts in his art to a successful issue. Concentration therefore helps the artist most in his work. Keen insight into beauty does not only help in art, but it leads the artist to spiritual perfection. There is a very thin veil between the artist and God, and it is his insight into beauty, with constant practice, which can sometimes lift the veil, so that all the beauty of nature will become to the artist one single vision of the sublime immanence of God.