the three alternate days they are expected to work indoors during the morning only, and during the afternoon they are free to work out of doors. When the weather is favourable the study of figure painting is carried on in the studio garden. Screened from the wind, and shaded on two sides by trees, this is an admirable place for work. Terms and Fees The summer term begins in May and ends in the middle of September. The winter term extends, with the exception of two weeks' holiday at Christmas, from October to the middle of March. The fees for the summer term are ;^io los., and for the winter term £i 12s. ; but students can join at any time, and for any shorter period, on payment of £^ 3S- a month. These fees mclude the use ot studio, models, and easels ; but students are required to provide their own paint- ing materials, and these easily can be obtained, since an artists' caterer from St. Ives visits the studios for this purpose once a week. The Newlyn School, which bears the appropriate name " The Meadow Studios," is charmingly situated high up on the side of a hill, and is sur- rounded by a garden, half wild and wonderfully picturesque, overlooking Newlyn Harbour and a glorious ex- panse of Mounts Bay, which stretches far out into the distance. The Studios The largest studio is a long, wide room which is divided into two quite separate parts, each of which contains a rnodel — usually a charming village maiden, or a stalwart fisherman, clay pipe in hand, and with a net or lobster-pots at his knee. These models remain for a week, and the 283 THE ARTS students work from them on alternate days. Thus, during the week, they are able to complete two studies, and stand no chance of becoming " stale," as Mr, and Mrs. Stanhope Forbes maintain one is very liable to do if forced to work continuously for a week from the same model. In another studio are models posing for the life class. These also, are changed weekly, and for this class the services of professional London models are secured. A third studio is allotted to students who are making still-life studies or who are working from the cast. Mrs. Stanhope Forbes, who is a great lover of the work of the Italian sculptors of the fifteenth century, has fitted this room with some fine repro- ductions of their smaller work. These re- productions, on account of their naturalness, individuality, and character, Mrs. Stanhope Forbes considers to be adapted admirably to the requirements of beginners who arc Mr. Stanhope Forbes criticising the work of the students Mrs. Stanhope Forbes posing the model anxious to draw from the live model, and who previously have been accustomed only to draw from heads of the classical sculptures. While both Mr. and Mrs. Stanhope Forbes give every encouragement to the expression of originality and individuality in the student's own private work, they believe most profoundly in laying a foundation of thoroughly sound, straightforward draughtsmanship during the hours spent in working from the model in class. Mrs. Stanhope Forbes invariably inches students to make a complete drawing of a subject in charcoal be fore proceeding to fix and paint it, and she discourages them from be- ginning to paint a picture until they find it to be impossible to add any- thing more to it in back and white.
