. Studio international . will lapse intoa-sthctii i -i ra\ again <• . andm< oherenl departures fromgood taste, bul if it is judii inns, reflective, and rightly LI. No. 21.). fANUARV, I disciplined, he will strike out surely into new wayswhich other men have not discovered, and hewill arrive with certainty at results of memorableimportance. It would be difficult to find a better example ofthe connection between a well-balanced personalityand a particularly convincing type of artisticachievement than is afforded by the work of He has naturally the habit ofmind which b
. Studio international . will lapse intoa-sthctii i -i ra\ again <• . andm< oherenl departures fromgood taste, bul if it is judii inns, reflective, and rightly LI. No. 21.). fANUARV, I disciplined, he will strike out surely into new wayswhich other men have not discovered, and hewill arrive with certainty at results of memorableimportance. It would be difficult to find a better example ofthe connection between a well-balanced personalityand a particularly convincing type of artisticachievement than is afforded by the work of He has naturally the habit ofmind which breaks through empty conventions andseeks for new opportunities and new possibilities inart. He has a temperamental impatience of re-strictions which are not based upon fundamentalprinciples, or justified by aesthetic laws. But hisimpatience is controlled by shrewd judgment, bypowers of self-restraint well cultivated and de-veloped in a rational manner ; and his readiness todisregard the conventions by which so many men. R ii \i l OP A LONDON HOUSE DESIGNED BY «. I I \ IOLD ITEPH] ? * 261 Recent Work by Mr. Reynolas-Stefihens have hampered themselves in their artistic en-deavours does not lead him into eccentric origin-ality or into purposeless experiment. Original hecertainly is, original both in his manner of applyinghis knowledge of art and in his choice of thematerial upon which he exercises his ingenuity, butin everything he does a sincere sense of responsi-bility guides the working out of his ideas andgoverns his use of technical processes. This sense of responsibility has prevented himfrom subscribing to any art nouveau fallacies ; ithas kept him, indeed, from acceptance of any fi >rmof art in which there is the taint of affectation. Butit has also induced him to study very closely themanner in which new phases of practice can beopened up to the artist by legitimate means andto seek for the novelty that comes rather from thedevelopment than the denial of strict prin
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