thing, or by an oral understanding, had in presence of witnesses, that the hiring is by the year, and for the tenant to refuse to accept receipts indicating that the hiring is by the month only.

Leases for one year or less need no written agreement. Leases for more than a year must be in writing; if for life, signed, sealed and witnessed in the same manner as any other document.

A lease falling into the hands of a party accidentally would be invalid, and must, in all cases, be delivered to the party for whom it is intended.

The tenant may underlet as much of the property as he may desire, unless it is expressly forbidden in the lease. Tenants at will cannot underlet.

A lease made by a minor is not binding after the minor has attained his majority. But it binds the

In the city of New York, when the duration of the occupation is not specified, the agreement shall be held valid until the first day of the May following the occupation under such agreement.

A landlord can no longer distress for rent in New York, nor has any lien on the goods and chattels of the tenant for rent due. Rent may be collected by action after the removal of the tenant.

A tenant is not responsible for taxes, unless it is so stated in the lease.

minor receive rent after attaining his majority, the lease will be thereby ratified. A lease given by a guardian will not extend beyond the majority of the ward. A new lease renders void a former lease.

In case there are no writings the tenancy begins from the day possession is taken; where there are writings and the time of commencement is not stated, the tenancy will be held to commence from the date of said writings.

If a landlord consents to receive a substitute, the former tenant is thereby released.

NYONE starting for the first time as a sculptor must be struck by the extreme simplicity of the material and the ease with which the rudiments of the art are to be learnt. A lump of soft clay, a board to put it upon, and a few wooden tools of most simple shapes-these, and a bit of sponge, and your own fingers are really all When the result that is necessary to produce a result. has been attained, and the work has been modelled, then no doubt there are a few things to learn to enable you to transpose your work-which now exists in soft material-into a hard and more durable substance, either into stone, plaster, or terra cotta. There is no good in disguising the fact that to carve properly, a strong arm and a firm grasp are required, and that is not consistent with a woman's more delicate frame. She may console herself though with the reflection that there are many man sculptors who do not do their own carving, so she will not be exceptional if she employs help to perform that part for which she is not fitted.

In earlier days it would have been almost impossible for ladies to take up the profession of a sculptor, as we have reason to believe that the clay model was much less depended upon, the statue in marble being worked from small sketches or models, and not so elaborately pointed up, or so dependant for its general form upon mechanism as now. With all this great difference it is still a pity for a man who is able, not to carve or finish his marble work himself, and in fact our best work has been produced by the sculptor's own chisel; it is, however, considered legitimate help, and a lady would be perfectly justified in employing assistance in that branch of the art.

You will find that although the rudiments are so easily learned, the art of modelling will not appear so very easy; and if you love your work, you will find

there is more and more to learn, and the knowledge will gradually dawn upon you that sculpture is not merely a copy of what you see, but rather a free translation. It is easier certainly to produce a show in this art than in painting, that is, it requires a less skilled artist to reach to a certain point in the one than in the other; but that being the case, it is equally certain that it requires greater art to put individuality into sculpture than into painting, and to touch the deeper chords of human nature, for that which helps you at the commencement of your career, namely, the simplicity of your materials, impedes you as you march onward, and makes it very difficult for you to impress your thoughts into it. You have form, and form alone, to deal with, color being entirely excluded. (The question of polychromy is not alluded to here, as the color employed by the Greeks was especially unrealistic and decorative in its character.) Sculpture, therefore, is one step further off life than her sister art, and it requires more imagination both to enjoy it thoroughly and to practice it to perfection.

To prove that form is more rarely appreciated than color, we would instance the general opinion of faces that we meet at an assembly. Ask why a certain face pleases more than another, and the answer will be generally one based on complexion and expression rather than on form. Now complexion is impossible to render in sculpture, and in the power of expression the art is exceedingly limited; the subtle changings, the exquisite language of the eye, being entirely outside the province of sculpture.

We will assume now that you are not troubling yourself about the limits of a sculpture's art, that you are not going into the abstruse question of Lessing's Lacoon, about what can and what cannot be done, nor are dreaming at present of ranking with Fnidias, Michael Angelo, and the other giants, but are simply

anxious to do your little in the modeller's art, and would be glad if all unnecessary difficulties were cleared for you.

A few axioms may be useful at starting.

1. Do not be afraid of making a muss; the corollary naturally follows, do not work on a carpeted floor, or mother and aunts will "go " for you with righteous indignation; therefore select a room where you can do as you like, see only that it has a good light, either a high side-light (blocking out the lower) or a skylight, the former being better because less flattering to your work; room to the north or north-east is preferable in order to avoid the sun.

2. Work with soft clay, and have a sponge by your side to keep your fingers from sticking, and let the clay you put on be softer than that on which you work. The principle of modelling, as opposed to carving, is, that in the first you put on, and in the latter you take off.

3. Use your fingers as much as you can, and let your tools be as simple as possible-more like a continuation of fingers, as if Nature had provided you with two or three smaller and larger ones. Let them be slightly curved, just as your fingers when much used, will of themselves assume a backward turn.

4. Be sure you consider the question of weight and balance when arranging your supports, or one fine morning you may see your work, when far advanced, lying on the floor. If you anticipate baking when the work is done, you must either have no supports at all, or place them in such a manner, that you can easily remove them when the clay is tolerably hard, without in juring the surface of your work.

proper stand, or banker, as it is called, with a revolving top, so that you may easily turn your model around, for it is most important not to work too long at one view— it is the fault of a painter when first learning to model. Your sitters, too, you should make as comfortable as you can, so that you are not worried by their not being at their ease; an office revolving chair on a raised dais is perhaps the best contrivance you have while modelling in the round, to take relief into consideration, but this though often tried at starting, we should not recommend at first. It has difficulties of its own, which, when understood, might hamper you when afterward modelling from the round. These difficulties of treatment would be soon overcome when you had learned how to model at all.

One great advantage a sculptor has over a painter is that he can take advantage of artificial lighting. We can thus throw the light where we will; for, although work will, and should, look better in a certain light, it should not look wrong in any. It does not matter very much what you choose to model first: no doubt you will select something difficult, but will soon discard it for some more simple form. A foot, or a hand, whether antique or cast from life are as good as anything, or a face where the planes are simple and broadly marked. For the foot or hand you would probably require no support at all; for the heads just an upright stick fastened well into a board, or bat, as we call it, that is, two boards each about eighteen inches or two feet square, fixed at two sides with two-inch space between, one above the other, parallel, so that you have room to place your tools in between. When you have the support ready, build your work up to the bat, keeping the

6. In working from life, depend as little as possible upon measurements; rely upon the eye, and so cultivate it.

46

These few precepts in the memory see thou character," to quote the wordly-wise Polonius.

In working from life you should also try to have your sitter very much in the same light as your work, for Eight and shade are most important factors, and you will find that the relative proportions of shadow were wonderfully understood in the best Greek work, and in fact in all good work, two equal shadows never being near to each other.

In addition to clay, you can also use wax for modelling; it has the advantage of being much cleaner, but still we should not recommend it, as clay admits of freer and quicker work, and the end is attained with more facility. English clay bakes about the same color The French is dark grey, and bakes a light reddish hue. Besides the essentials-clay, tools, and a board-you will find it more convenient to have a

as when moist.

at the neck or elsewhere. Keep your work clean-looking and simple, the planes all distinctly marked, and particularly avoid all details and sharp cuttings until you have the general form rightly set in. It is good not to be always too near your work. Continually place your model and work together, so as to compare them, remembering to have them at the same angle to the light. You will understand by this that it is seldom you can sit to your work. When working keep damp cloths over your work, and do not let the cloths touch the more important surfaces.

If you should intend that your clay model should go to the kiln to be baked, there are two or threeparticulars you must carefully attend to. In the first place, see that your clay is quite clean, from lime, plaster or stone, as the presence of any of these is sufficient to burst your work and make pieces fly. Secondly, before sending it away from your studio, see that your work is perfectly dry It is only through non-attention in these matters that much of beginner's work is spoiled in the firing; it is seldom the fault of the potter. A small figure can be

baked solid, but a larger one should always be hollowed out, as there is much more room for air to play round it. If you hollow it out, take care that there are a few small holes-in unimportant places where they would not be seen-to allow of escape of air. The hollowing out should be done when the clay is totally hard, but before it is quite dry. It is better to build up your work solidly and hollow it out afterward, than to hollow it out from the first. The latter can be done, but the difficulties necessitated by it are apt to distract your attention from your chief object, as very great care would be required to put the model together. The question of supports has been referred to. Most busts you can build up without any support at all; and for statuettes you can generally arrange a support that can readily be removed when the clay becomes of sufficient consistency to stand alone.. Take care, also, that the clay is well kneaded, so that it holds together, and that there are no air-holes present.

You can never be quite sure of the color when baked, as that depends a little upon the surroundings of your work in the kiln, nor can you always avoid slight

cracks.

There is another important point to remember about terra cotta. As clay naturally shrinks when drying, you must allow for it. If you should want your work, when finished, to be of a certain size, one-tenth is generally allowed—a little more or less would depend upon the degree of moisture that is in the clay, but it is seldom necessary to be so very particular.

There are drawbacks to terra cotta, but it is well to know that terra cotta can be repaired. A thin coat of distemper or paint will hide the cracks, although it also slightly hides the more delicate modelling, so it is not therefore to be recommended for finer work-better show the cracks.

If you don't intend to have your work baked, but to have it cast in plaster preparatory for bronze or marble, you need not be so careful in preparing your clay, neither need you consider your supports except for their strength and position. Do not attempt to cast your work yourself, for it requires some little skill to mix the plaster, and there are men (moulders) who make it their vocation-only caution them that you want your work returned to you exactly as you left it, otherwise you may find your surfaces all gone and worked out, or finished according to the moulder's notion.

These remarks will assist those who might try to model unaided, but if you get to like the work, and

would wish to succeed, you should take a few lessons from an expert, so as to be guided in your progress.

In modelling, remember always that you have merely form to deal with, but you have, if modelling a bust, to give the impression of the head and not a copy of it, and this is where the art of the sculptor is called into play. In sculpture you cannot give the color to the eye; you cannot give eyelashes, nor the fineness of the hairall these points so important in life—so you must execute your work that none of these specialties should be missed. "How is this to be done?" you will ask. In a great measure it must be left to you to decide, to your own feeling and individuality. There are several ways of interpreting life, and several schools formed on these ways of execution, and a sculptor is perhaps the last person to recommend one way or the other, as, if he loves his art, he has become a specialist himself, and would unintentionally direct you towards his own way of interpretation. He can teach you to see nature, it is true, but can only teach you to render it in his own way-he is not able to say which is the right way, probably there isn't one; it is only a matter of feeling.

The destination of a work as well as the subject itself, are most important factors in determining the treatment. We will refer to one or two ways of treatment. For instance, in the eyes the Greeks left the pupils blank, but they gathered shadow by sinking the whole eye, and generally making the lower eyelid deeper than the upper. We moderns usually cut in the pupil, and leave the eye where nature placed it, conventionalizing the pupil more. Perhaps the former way is more suitable for ideal work, and the latter for portrait and character. The disad vantage of the latter way is that it is more dependent for its true effect upon the light in which it may be placed. The Roman work is marked much in the same way as our own, only not so deeply.

Whilst speaking of the antique we caution you against a too free use of it. Students generally commence there, and they stop there so long, that the development of all individuality and life is checked.

It is certainly useful at first, because you are not troubled with a model's varying phases, but when you have attained some little proficiency in modelling, it would be better to go direct to life. In the antique, as in other work, there is both good and bad. Many of the figures, and also of the busts are merely interesting from a historical point of view, and you must, as a student, look at them from the artistic side, to see whether the form is good, the lines well composed, and whether the entire builds up into one artistic whole.

HIS work is easy, pretty, and effective, and is well suited to ladies, as it does not require any great degree of strength.

Most of us know what is meant by repoussé work in metal. In that kind of work the pattern is beaten out at the back so that it stands out from the ground-work, which remains at its old level. The work which we are about to describe is precisely the opposite to this. Though the effect produced is somewhat the same, it is attained by different means. In a few words, instead of beating out the pattern from behind, the ground is beaten down from in front, leaving the pattern untouched.

The tools required for this work are few and inexpensive. The beating down of the metal is effected by means of punches, struck by a mallet or hammer. It is well to use punches with some little pattern on them, for two reasons: firstly, because they are then less likely to slip from the exact place where the blow is required; and secondly, because such punches give a grained surface to the ground-work, and such an appearance is more pleasing than a plain surface, and affords a greater contrast to the smoothness of the pattern. Punches suitable for this purpose are called "star" and "chequering" punches.

Besides these you will require some tool with a plain edge for marking out lines on the pattern itself. For this purpose a blunt bradawl or small screw-driver may be used, or even a large nail filed to a similar edge; these tools should not be sharp, or you will run the risk of cutting the metal. These are also useful for getting into sharp angles in the pattern, where your punches, whether round or square, cannot go; a triangular file broken off will also be found a handy tool for this purpose.

If you have any doubts of your ability to hit the head of the punch, it will be safer to use a mallet than a hammer, as a miss means an awkward rap on the knuckles. You will require a pair of shell shears for cutting the sheet metal; these are like a pair of very strong scissors.

The metal itself should be brass, at any rate to begin with, though if you like you may use silver when you get on.

The kind of brass to use is sheet brass; No. 7 gauge will be found to be of a proper thickness. It may be procured of any length, in width from two or three inches upwards. It is sold by weight.

The first thing to do is to decide on the pattern, and we would suggest for your first attempt some simple design on a small piece of brass; a plain Latin cross on a bit four inches by three inches will do very well; or, if you like, the initial letter of your name. Cut your brass to the size required with the shears; you will find it rather difficult to make a straight cut of any length at first. This is because the part cut off does not yield and get out of the way like paper or cloth. You will have to bend it out of the way, it can easily be flattened afterwards with the hammer.

Cut out a piece of thin paper (tissue paper does well) the exact size of the brass, and on it trace your pattern. Flatten the brass, ant gum the paper to it. Never mind if there are tev small wrinkles, these will vanish when the paper dries. Thin paper is recommended because thick paper is apt to loosen and come off when the punch is applied. This sometimes occurs even with thin paper, and if you find this happening, it is best to trace the pattern through the paper on the brass with some sharp instrument, taking care to scratch only very faintly. You can the wash off the paper, and be independent of it.

To work on the brass, it must be fastened down in some manner, and the most convenient way of doing this is to put a strip of wood on each end and screw it down. The brass need only be covered by the wood for about a quarter of an inch or even less. The board it is screwed down to should lie quite flat and firm on the table you work at, and the table itself should be a carpenter's bench, or some very strong and steady piece of furniture.

The most essential point about the punching is that it should be commenced at the edges of the brass, and worked inwards towards the middle. If the piece of