f Our Exalted Prop, or even, God forbid again, turist, in eac signature.”

    “hy?”

    “ers illustrated a face, ts exalted beauty, on tates of t s ime to make tole from otated a model nor studied a real ear. For t t aspire to anyt even stop to consider heir brushes from memory.”

    “But didn’t t masters also create terpieces from memory  ever even looking at real rees or people?” said Black.

    “true,” I said, “but ter years of t, contemplation and reflection. y of rated and actual, over times, t t fles s. t a master miniaturist ens of times eventually comes close to God’s vision of a ist kno alent, great effort, and insig is a  approac is draed any knoist  it is doing, or before paying attention to ter,  is a flaion, it urist to miniaturist. t is, it amounts to a signature.”

    tion. to ted from turists and the calligraphers.

    “Besides, ears are actually a  once distinct and common to everyone: a perfect manifestation of ugliness.”

    “ o turist ies tyle of painting ears?”

    I refrained from saying, “o keep Black from becoming even more do. Instead, I responded, “er, and to identify miniaturists ever since, is kno is kept secret so t if one of turists makes a forbidden figure or a small design t conceals some miscer denies ermine s inctive desire to draimes transgressions involves finding trivial, quickly draitive details removed from t of ting, suc be rator  tail  signature. Mustac ance, because many artists are aure any eyebroy: No one pay