To work successfully in any of these occupations, the artist must be trained and should have special gifts. Training is obtained partly in schools, partly in studios at home and abroad, and from working with other artists. Some of these artistic occupations pay well; in others payment is variable and more or less uncertain. The woman architect needs a special gift and should be trained as thoroughly as possible in draughtsmanship. Her next step should be to obtain a place as draughtswoman or general assistant in an architect's office. Promotion afterwards will depend largely on individual ability. Architecture and houseplanning are fields of work not yet occupied to any large extent by women. Girls with gifts for work of this character should be encouraged to enter these occupations, provided they have perseverance. It is always difficult to enter a new field, but a few women are already successful architects, and the advantages which should be possessed by women in designing houses are obvious. When a woman plans a house she considers it from the standpoint of a home and takes into consideration the nature of the people who are to live in the house and also the kind of work they will do both in the home and in the outside world. Landscape gardening has, as yet, been developed little in Canada. There are, however, a few establishments carrying on such work and in one or more a woman is a partner. House decorating and house furnishing have also been entered on as professional occupations by women. House furnishing in particular offers a promising field for girls with the necessary training and endowment. Many girls have ability for this work, and as the employment is being developed commercially, the opportunities for girls in house furnishing should increase with some rapidity. Payment in all these fields of artistic work depends not only on the ability and skill of the worker, but in particular on the degree in which the products of her art are planned to meet the needs and desires of a large public. The individual worker who expects her work to find its own public is far less likely to have a steady income than the worker who is employed by some large firm. If the artist or the worker in handicrafts feels that she must work alone, or if she works better by herself, then she should have either an independent income or an alternative occupation; otherwise she will need a well-developed business sense in order to handle the products of her skill to the best advantage financially.