International studio (21.1903/1904(1904))

in Creative and interpretive labour,
which is the reward of craftsmanship,
the non-productive worker knows almost
nothing. Mr. Carr is to be congratu-
lated on his place among those who,
having a Hne instrument beneath
their fingers, know how to manipu-
late it for the utterance of beauty,
of individuality, and of intellectual
power.

T ADY ART STUDENTS'
§ LIFE IN PARIS. HY
^ CLIVE HOLLAND.

A STUDIO COURTYARD

FROM A PHOTOGRAPH
BY CLIVE HOLLAND

PARIS has for many years been the
Mecca of art students of both sexes.
The reason for this is not far too seek.
English schools of painting (with few
exceptions) do not appear to encourage
individuality, and more particularly the
individuality of women, in art, however
good the technical instruction given
may be. Whether it be the glamour
which has always enveloped Paris as an
art centre, or the attractiveness of life
" in the Quarter," it is difhcult to say;
but true it is, that the lady art students
resources of civilisation have relieved them from of the present day are going to Paris in increasing
the preliminary manual labour which their fore- numbers. That the life they lead there differs
runners endured, and set them free for mental and from that led by their male companions, both
resthetic developments. Material is the speech- as regards its freedom and its strenuousness,
stuff of the craftsman, the
most potent medium be-
tween himself and his
fellows ; and through it, not
his temperament merely,
but all the racial ele-
ments in him, will inevitably
take shape, whether they
be the calm, practical
energy and ready ingenuity
of the Teuton or the way-
ward and passionate mysti-
cism of the Celt. In what-
soever mood it come, his
message may be prophetic,
idealistic, and austere, or
simply the expression of
delight in beauty, the
artist's pleasurc in creat-
ing pattem out of natural ^ „NERVAL .F REST
form. Of this peculiar joy BY w. R. joHNs
22g