Continuing from the last figure of the tombstone, given a few pages back, we can construct the same so as to have a small piece to spare. This piece may be sprouted into a new design, and then led into a form of cup, and from that into a vase of artistic shape. That triangular piece will make a pestle for a mortar, which might readily be transformed into a goose, etc.
In attempting to construct a form like the imperfect hexagon shown, it can be seen that the square will not fit, but we are on the right track, because having just sufficient material left over proves the proportions to be correct. Have you thought of the ratio or proportion of one piece or form to another?
Do you see the Monad sign which says, go back to the beginning and read over again! Note the little lamp of science with a modern Argand burner on the end of it!
The feature of leading the imagination to recognize certain forms by their connection with others may be referred to again as pertaining to some amusing tricks, which appear more in the nature of catches. It will be found that many of the repetitions which have been adversely criticised are merely the reappearance of former designs under different aspects. They look as if someone in search of original ideas had glanced through the pages with the book turned upside down to get new suggestions.
Here, for instance, we have a monkey-wrench, and directly under it an improved one with a set-screw. Then we have a pretty Japanese girl, with a figure below showing how her bustle will appear when she makes a graceful salaam. Next comes a light carriage with a top, and below it is shown the same style with the hind wheels larger, as they should be. Now, if you look at the three lower designs of the wrench, Japanese girl, and carriage, you see the one design reproduced three times.
In the sketch of the Irishman with a wheelbarrow it does not require close examination to discover the similarity.
There is somewhat of magic involved in the happy family of pigs which might possibly be overlooked. That first mischievous looking "razor-back" is somewhat out of proportions in the hind quarters. Directly below him is an improvement, which gains a tail but is rather light chested. The top one at the end is the best, and we are asked to compare it with the last, which seems to have acquired a tail by some magical means, which really makes it look more like a rat, which, according to the principles of Chinese evolution, suffices to prove their close relationship. The problem is to explain how the pig comes by that tail.