Gu Weijing was unaware of how startled Miss Sakai was at that moment; he was deeply immersed in a state of painting.
His mind centered solely on the scenery outside the window, the easel before him, and the brush in his hand.
Gu Weijing's brushwork was swift and fluid,
without the original work before his eyes as a reference. The angle from which the porter's lodge window viewed the building differed slightly from Carol's vantage point when sketching.
Moreover, the passage of one hundred and fifty years caused weathering and subtle changes in the sheen of the Old Church's stone surface.
If one were to measure with a ruler and protractor bit by bit, the shape of the Old Church as painted by Gu Weijing would have a few discrepancies compared to the one depicted by Carol.
Suppose we judged by the criterion of similarity—where not a single line or speck of color could differ from the original, replicating at a one-to-one ratio.
