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THE NATIONAL GALLERY OF BRITISH ART (The Tate Gallery), and THE DULWICH GALLERY, including examples by the following artists ; G. H. Houghton, R.A,, George Clausen, A.R.A., The Hon. John Collier, Vicat Cole, R.A., H. Herkomer, R.A., Colin Hunter, A.K.A., H. H. La Thangue, A.R,A., Sir J. K. Millais, Bart., P.R.A., Daviu Murrav, A.R.A., and ]. S. Sargent, H.A. CATALOGUES POST FREE. FORTHCOMING PUBLICATIONS. GEORGE CLAUSEN, A.R.A. THE GIRL AT THE GATE. Artist's proofs, limited to 100 impressions STANHOPE A. FORBES, A.R.A. ACROSS THE STREAM. Artist's proofs, limited to 200 impressions COLIN HUNTER, A.R.A. THEIR ONLY HARVEST. .Artist's proofs, limited to 100 impressions C. E. hall£ A FOUNTAIN. Artist's proofs, limited to 100 impressions H. H. LA THANGUE. THE MAN WITH THE SCYTHE, Artisl'.'i proofs, limited to 100 impressions ^ DAVID MURRAY, A.R.A. MY LOVE HAS GONE A' SAILING. Artist's proofs, limited to 100 impressions ., .. ., J. S. SARGENT, R.A. CARNATION. LILY. LILY ROSE. 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DEVONSHIRE MARBLE CHIMNEY PIECES. STOVES. TILE HEARTHS. KITCHENERS. SILVER, ELECTRO-PLATE, CUTLERY, &c. COOEIXG AND HEATIXG APPARATUS. Electric Lighting:. WIGMORE STREET, LONDON. THE EASTP.n AmUJL ADVERTISER. MESSRS. BELL' S ILLUST RATED BOOKS. Complete List post free on application. "WORKS BY WALTER CRANE. The Bases of Design. Printed at the Chiswick Press, with 200 Illustrations, many drawn by the Author. Bound in bui^ki'iim, with Hpcfiallv desi.med Cuver and End Piipers, Medium 8vo, 18s. net. , i_ -t CoNrEN-Ts: — 1. Of the Architect aral Basis.— ■>. Of the Utility Basis and Influence.— 3. Of the Influence ufJMiitenal^and Method. Conditions in Desi{rn.— Of the Climatic Influence in Desig:n : chiefly in regavd to Colour and Pattern.— 6. Influence, or Emblematic Element in Design.— 8. Of the Graphic Influence, or Naturalism in Design.— 9. Collective Influence in Design. - t. '■ WiU interesh all who care for beauty of form or decorfttior.. iind will be of practical value to the ait student or the apprentices in h; a plnce between the hard and fast catalogues of design, such as Owen Jonep'ft " Grammar of Urnament." and such work, understood, jiud are, therefore, suspected of mtre theorising by many actu,il crnftsmen, Mr. Crane, though cmii'ely pracfiwil throughout."— />"i7i/ Chron-ch. The Decorative Illustration of Books, Old and New. With i o lUustiatons, 10s. 6d. net. , , • , , Mv c;rane has had ii delip-htful task, and he 1ms acquitted himself surprisiuKly well. . . . The book is a storehouse ot pood drawing. —-!'-^(iew>/. _ „„i„~p ^mild be one of - ■ ■ ^' ■ of reproductions of curious and beautiful title-pages, initials and illustrations, from the fifteenth ceutury down to.om- own day, this volume would tie one 4. Of the Influence of Of the Racial Influence in DesigQ.— 7. Of the SjTnholic Of the Individual Influence in Design.— 10. Of the dicrafts. It is a hook that was wanted, for it occupies Ruskin'e. which always tend to pass the limits of Art as connumily may safely include him in the Ruskin school of aocial and ethical ideals, is '■ ^Merely as an historical ser: great interest." — Times. ■' I have seen no other volume of examples nf what TiTr. Crane be placed in the hand;, of the art stude it with so much advantage. A History of Renaissance Architecture in ENOLAND, 1.500-lSOl). By REai>'Ai,u Blojiiielu, M.A., Exeter College, Oxford, Architect. AV^ith about loO Illustrations from Pen Drawings by the Author, and DO Plates in Collotype and Half-Touo, Photographs, Drawinq-s, and Prints. '2 vols., imperial Svo, X,2 10s. net. -Two handsome and lavishly illustrated volumes. . . . Mr. Blomfield writes well and with admirable lucidity, and has acquitted himself of a great task, spread over a wide field, with ^food ]udgment and an educated ta.sie."'—StaHdar'l. •' Mr. Blomfield's book is the most thorough and scholarly contribution to the literature of English aichitecLure which we reiiieniber for many years." — DdUj/ Chronicle. Thomas Gainsborough: His Life and Works. By Mrs. Artbue Bell (D'Anvers). "With Fifty-eight Illustrations in Photo- gravure and Half-Tone. Binding designed by Glkeson Wiiitb. Small c;,i;'">;;^,f^,;.»™ ' desirable possession for every lover ol Constable s work. -/ all Mall Ua-Ulc. ssquisite t, CHAPMAN cSt HALL, Ltd., LONDON. THE F.ASTFI! ANNUAL ADVERTISER. WORKS BY MRS. JAMESON. Sacred and Legendary Art, contain- ing Legends of the Anj^'els and Archangels, the Evangelists, the Apostles, the Doctors of the Church, St. Mary Magdalene, the Patron Saints, the Martyrs, the Early Bishops, the Hermits, and the AVarrior Saints of Christendom, as represented in the Fine Arts. With rg Etchings on Copper and Steel, and 187 Woodcuts. 2 vols., 8vo, clolh, f^ilt top net 'JO 0 Leg:ends of the Monastic Orders, ic A:ls, Cdiniiri^iiig tliu Beni'dii-Lmcs ami derived from their Rules, the Mendicant ;is ieprcsL-iili.'a in ine f Auguslines, and Ordei- Orders, the Jesuits, and the Order of the Visitation of St. Mary. With Eleven Etchings by the Author, and 88 Woodcuts. 8vo, cloth, gilt top . net 10 0 Leg^ends of the Madonna, or Blessed Virgin Mary. Devotional with and without tlie Infant Jesus. Historical from the Annunciation to the Assumption, as represented in Sacred and Legendary Christian Art. With 27 Etchings and 105 Woodcut'i. 8vn, cloth, gilt top net 10 0 The History of Our Lord, as exempl I Works of Art, with that of His Types, St. John the Eaplist and other Persons of the Old and New Testament. Commenced by the late Mrs. Jamrson ; continued and completed by Lady Eas'I- l.AKt".. Witli 31 Etchings and 281 Woodcuts. 3 vols., cloth, gilt top .. " iK'l 20 0 London, New York, and Bombay : L 0 N G M N S , GREEN, & CO. FROM GEORGE ALLEN'S LIST- BY JOHN RUSKIN. LECTURES ON LANDSCAPE. Given at Oxford in Januaiy and February, 1871. With 20 Plates in Photogravure and 2 in Coiom*. These Lecture-: were originally illustrated by me.ans of pictures chosen from the Author's private collection, the University Galleries, ^c. Twenty-two oflheiii, including seven l_'npuhl'shed Turners, an- here reproduced. 15 hy 11 inches. Buckram, gilt top, £2 2s. net. MODERN PAINTERS. A New Cheap ltdition, complete in small fonn, Six volumes, crown 8vo cloth, gilt tops, £2 Ss. net. With the 2^5 Woodcuts, the one Lithograph, and the 8g full-page Illustra- tions reproduced in Photogravure and Half- Tone. The Text is complete, and includes the " Epilogue " written by Mr. Ruskin in 1SS8. NOW VJJMVLETT.. With 231 Illustrations by WALTEE CRANE. SPENSER'S FAERIE QUEENE. Edited, with Preface, Bibliography, Fragments, &c., by T. J. WISE. A limited Edition on Arnold Unbleached Hand-made Paper. In Nineteen Parts, Large Post 4to £9 19 6 net. Or Six Volumes in Box, Art Canvas, gilt tops ... £10 15 0 net. The Designs by Mr. Ckanf. inclml^. besides the ( Aiver : 98 FULL-PAGE^ILLUSTRATIONS. 80 CANTO HEADINGS. 53 TAIL PIECES. ■'No mod. Ihi? Athenteum -.- Crane. M:iny of these (iiJS l riorning: Post says: " Tl tlie poet." 'I he Daily News savs : " Nii tliH 111 liiMiry or beauty." Black and White says : " It may be s.iid at well iiualilu'd tu illuslr.ite Spet Lievonii praise as examples ai book-ilei beautifully Illustrated Kdition is in every wa\ of Spenser has yet appeared which can compare with to fulfil all expectations." London : RUSKLN HOUSE, 156, CHARING CROSS ROAD, W.C. SAMPSON LOW, MARSTON & CO S PUBLICATIONS "The tno^t sumjjtnous Neiu Testament in existence.''^.— THE TIMES. Dedicated by Special Permission to the Right Hon. W. E. Gladstone. THE LIFE OE OUR IX>rir> JESXJ?!* OHKI-^iT. lllmliated iij over SOO PhittiYS-SSO IVater-Cohmr Drawings aJlJ ISO Pen-and-ink SMc-lies. By JAMES TISSOT. English Edition, 2 vols, of about 300 pages each, printed 0,1 the best paper. I.arge Imperial 4I0. The volumes contain tjver 5™."l"strations , of ,S plates "24 printed in colours, and 14 monochrome in photogravure. Accompanying the text, there are .50 '<'I''°'^'''"T'' , ^ A ^ l^^^ drawings, and 200 engravings printed in ca,,mie«, also , 50 text woodcuts, besides numerous friezes, capital letters, and la.lp.eces designed by the art.st h.mself, thus forming a work perfectly unique of its kind. c;,.., p^r,= ,r,^ nr„v r .i,!v The Publishers intend to issue the two books in Six Parts each, altogether Twelve Parts, which will appear monthly, the Urstbeven tarts are no« uau). The Price of the Complete Work will be Twelve Guineas net. The Price of eacli Montlily Part is One Gmnea net. „„.,„.rf i,.f„„ i„n „f Subscriptions can only be taken for the Complete n'ork, and are payable on delivery of each Monthly Part. The names of subscribers received before comple ion of the «™-V7;;„S,>;™'?; '^^S^^'^^^Ordcr Korm a,,-, Facsimile of Mr. Gladstone's Letter to M. Tissot, and containing full particulars of the work, can be seen at all the principal Hooksellers. _„ . — _ NEW AND CHEAPER ISSUE IN ATTRACTIVE BINDINGS. ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS. Kiich Volume contains ni;iny Illustrations (in all over One Thousand), including, when possible, a Portiau oi tbe ilaster, and is strongly hall-buund extia, red top. A\r.s) hei7ig issued, Two Volumes in One, half-boimd, red top, fur 4.s\ {in s.tne cases y. bd.) each , or in separate Volumes, at 2s. 6d. and 2s. ENGLISH PAINTERS. Italian PA\:sTERS^continued. SirJoBhuaKeynolds, By I~.S, PULLiN(-,,M.A.) Two Vols' Grhiberti and Donatello. By Leader\ ^^^.^ ^^^^^ Sir Thomas Lawrence & George Romney. [ in one, Sco rr. . I i^, nn^ Sir Thomas Lawrence & George Romney. , By Lord i;onai-D Gower, F.S.A. J Gainsborough and Constable. By Bkock-Arnolu. M.A. Turner. By Cosmo Monkhouse, I^Two y in c Two Vols one, Delia Robbia, Cellini, and other celebrated f ' Sculptors. By Leader ScOTT. 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A., ani Professor ROGER SMITH, F.R.I.B.A, /■:;TnN, M.A., and S. R. Koehler. Water-Colour Painting in England. By G. R. Red- Compl,-lc List of the Vliimcs sent post fee on apfli^alion. gran'E. London: SAMPSON LOW, MARSTON & COMPANY, Ltd., St. Dlnstan's House, Fehei^ Lane, Fl^et Sirelt, K.C. THE EASTER ANNUAL ADVERTISER. " The quality of this excellent magazine improves, like port wine, with age, and each year sees a marked f,''™"f^',^"l '° constant adoption of the newest ideas in art and art reproduction. . . The illustrations, whether m photogravure, half-tone or engraving, are beautifully finished."— PaH Mall Gazette. MONTHUY, Xs. 6d. THE ART JOURNAL Each monthly number contains a FULL-PAGE ETCHING or PHOTOGRAVURE, together with many illustrated articles on the art topics of the day. Pirici of every item required in Comjil' l-' Bouse Furnishing. GRATia AKIl POST FKEB. 3 LeatJier, 2s. Cd., post GRANNY EASY CHAIR, g Stuffed, and covered with Tapestry. £1 15s. Od. ALL CARPETS MADE UP FREE OF CHARGE. aiiEUATUN EASY CHAIR. Diing Stuffed, and Covered Tapestry £1 9s. 6d. "Witch's" COAL CAULDKON, all Black with Wrought Iron h indle com- plete, Medium size, 3/11 ; Large ditto, 411 ; Ditto with twisted Tohshed Brass handle. 2 '- each extra. Black COAL TONGS to match, 1/6 per pair. THE ''ViCTORIA." r Blue on Ivorv Ware. L'pright Brush Vase complete service. 3 3. HANDSOME INLAID LOUIS XV. TABLE, richly mounted with ormolu, fitted wilh two drawei-e with locks and key, and marble top with brass gallery round, £1 15s. H;ilf-Dozeu Solid Silver GUt I SPOONS, in morocco case, 21'- Do., do., with Tongs, as illustration, 27/3. Do., do.. 12 Spoons in esse, 38/6 ; with Ton; 1 Afternoon Tea Oft CHESTERFIELD SETTEE, with luxuiious double-aprini sscom atuHed aii Hair, and covered with tapestry, £6 15s. VERY HANDSOME CAKVKl) ANTIQUE BUREAU, fitted with one long and turec sliort orawers ana (lupuoam, the flap, when odph, forming a writing slab, and interior fitted with small drawers and pigeon holes for stationery, 3 ft. wide £4 13s. 6d. CARVED ANTIQUE OAK MIRROK, with large bevelled edge silvered glasF, •2 ft. 9 in. wide, 4 ft, high, .£2 CARVED ANTIQUE OAK SPINNING CHAIK, 6 9 STRONG BLACK AND BRASS i'KENCH BED- STEAD AND BEDDING complete ; with double woven Wii G Spring Mattress ; good Wool Matti'eaa, in striped tick. Bolster and Feather Pillows, complete, 0 ft. 6 in. long, width, 3 ft., 31 6 ; -3 ft. fi io., 36/6; 4 ft, 43/- ; 4 ft. G in., 45'- THE E A STEM ANXUAL ADVEETISEtt. A. E. BURLING, 101, GREAT PORTLAND STREET, W. eat\)er, dSdtrcr, i^icture ^iframei- mXf Wount ©uttev- Florentine, Chippendale, Laurence, Swept, and Louis Frames in best Gold, on the shortest notice. // Ai" Special attention paid to "Art Journal" pictures. A large selection of patterns to choose from. Special terras arranged for larg'e quantities of work. A. jANDERiON &SOHS MANUFACTURERS OF MiGHESr CLASS WALL PAPERS DESIGNS SHOULD BE SUBMITTED AT ChlSWlCK. OR. BY APPOlNTMENr AT i2 BERHER^S STREET. LONDON. WoRKi CHI5W1CK. NtAPF.ST Rv. STATfOH . TORNHAM OREEM ART SCHOOLS, &c. PftRISlftN STUDIO IN LONDON. FOR LADIES, Gummcr Sketching Class in Normandy. Principal - - Mr. W, J. Donne. APPLY TO SECRETARY, GROSVENOR STUDIO, VAUXHALL BRIDGE, S.W. ATELIER D'AQUARELLE, -, HOLLAND PARK ROAD, KENSINIiTON, W. WATER COLOUR SCHOOL INSTRUCTION IN DRAWING AND PAINTING. UNDKR THE DIRECTION OF Messrs. Giffard H, Lenfestey and H, P. Clifford (National Gold, Silver, and Bronze Medallists). Life Classes (Figure and Costume) on four days and five evenings a week. Classes in Still Life, and the usual Prep.-iratory Work, For Prospectus address the School. THE HERKOMER SCHOOL, BUSHEY. FnuNDiiii 1883. Incortora- The -School is limited to one hundred Students, who receive instruction under the immediate supervision of Professor Herkomer, R.A. The fee per Term is £6 6j., payable in cidvauce. BEDFQ^D CeiiliEGE, IieND0N wew), ^ York Place, Baker Street, W. ART fCHOOL. f'/V/i'flr— HUBERT HERKOMER, K.A. Professor—^. BOROUGH JOHNSON, R.B.A. The Easter Tom begins on Monday, April %$ih — The Studio is open from 10 to 4. The Professor attends on Mondays, Tuesdays, and Wednesdays from 10 to i, Further information on application. LUCY J. RUSSELL, Hon, Sec. f.ys'iKL'C'iJo.y Cfii'EX i\ Painting & Iliustrating /A' Black AND White and Colour FOR Press Reproductions by Mr. Rob Sauber. For Prospectus iippiy the Secretary at School Address — la, PHILLIMOBE GARDENS, HiaH ST., KENSINGTON. WIMBLEDON ART COLLEGE. pi I^esid^r^tial /Irt S<;^?ool for Cadieg. CEJBJECTS :— Drawing and Painting from Costume Model, Sti!l-Life and Antique, Drapery and Composition, under Mr. Lexden POCOCk. Evening Class from Female Life Model, Miss Postlethwaite. Modelling, Mr. Alfred Drury. Black and White, Mr. Arthur Cooke. Embroidery, Miss Bennett. Ladies can join for Classes. Prospectus from the Hon. Lady Superintendent, Miss Bennett, The Garth, WiMiiLKDOff ; o* from Tmk Art College, 56, Merton Road, South Wimbledon. SCHOOL OF ANIMAL PAINTING. Principal : MR. FEANK CALDBRON. OPKN daily: live models, anatomy, &0. A SUMMER CLASS for outdoor work is held at Midhurst, Sussex, from ^ middle of July to the middle of September. For f lather Particulars apply to The Principal, 54, Baker Street, W. TEE EASTER ANNUAL ADVERTISER. BY/PCCIAL tmrnn ARINGS Special Jl^poinfmciif fo Dee0RftT0RS SND AN OBJECT LESSON In Furnishing and Decorating can \ Jj be obtained by inspecting Messrs. |U' Waring' s Suites of Completely Furnished and Mi FITTED ROOMS ^1^^ S AT 175 181, OXFORD STREET, LONDON, W. BRAND & Co.'s MEAT JUICE. Prepared from the finest ENGLISH MEAT. *' This is a powerful, noiirisliing, and stimulating fluid, obtained from prime beef by submitting it to pressure in the cold — a method of prepara- tion which must be regarded as highly satisfactory, for, according to our analysis, the valuable principles of the meat have not only been preserved intact, but the fresh, agreeable, and natural flavour of beef has also been retained." — Lancet, January 7th, 1893. Supplied to Her Imperial Majesty tlie fWPfffSS of HUSSiA. CAUTION.— Beware of Imitations. Eacli genuine article bears the Original Firm's Signature and address : — Price Lists of Invalid Preparations free on application to BRAND & CO., Limited, 11, LITTLE STANHOPE STREET, MAYFAIR, LONDON, W. O. W. R. W. S. The New Drawing Paper for Artists, With the Company's StasiI' on c:ich Sheet. These papers are of different Surface and Thicknesses in Iraperliil ;30 hy Ti inches), Cd. to 2e per sheet ; Double Elephant (40^ by 27 inches), Is. to as. per sheet ; and a Smooth thin pape, (21 by 16.!. inches) for " Black an3 White." RUOOIII Fisa liHAIS, MKDIDM AUIJ ROUGH. CAN BE OBTAINED FROM MANUFACTURER OF EVERY ARTICLE FOR THE ARTIST IN WATER COLOURS. THE ARTIST IN OIL COLOURS. THE PHOTOGRAPHIC COLOURIST, OP SUPERIOR QUALITY. 24 SOHO SQUARE, LONDON, W. Catalogues imd Cirr.u,lars post free. ^^iV3IAii'S~Fl^KE WHITE IN^^ OIL IS JIOEE BRILLIANTLY AVHITE, WELL PKEPABED, AND LASTING THAN ANY OTHER. " " ABTIST¥~WATER-COIiOUJi TABLETS. Fob General Artist Pubpo3E3 and "Black and White." etout Cardboaid covered with the Beat Quality of Drawing Paper of everj- Variety of S'lrf ace. Whatman's "J.N's" Specia! Creawick with ".V" in Water- Mark of each Sheet, rrepii-cd Varley Paper, &c. HOT PRESSED, FINE GRAIN, MEDIUM OR ROUGH. Prices and Sizes OF Tablets Kkpt in Stoor: — With extra thick and more expensive papers . lOl by 7] inches 3s. dozen 5a. dozen. UibylOi „ 6s. „ 12a. ,. 21 by 114 ,, I2a. loa. 29 by '21 „ 24a. - ^ ... 36s. „ ic&c. Other Sizes made to Order. [She CiBcuLAKb. 24, SOHO SaUABE, LONDON, W. TEE EASTER ANNUAL ADVERTISER. BY/PECWL 53g Special Jlppoinimciii to PURNISHeRS. AN OBJECT LESSON In Furnishing and Decorating can be obtained by inspecting Messrs. Waring' s Suites of Completely Furnished and ^jc FITTED ROOMS AT 175 181, OXFORD STREET, oR.H. THE Pd,. BRAND & MEAT Co. JUICE. Prepared from tlie finest ENGLISH MEAT. "This is a powerful, noiirisbiDg, and stimulating fluid, obtained from prime beef by submitting it to pressure in the cold— a method of prepara- tion which must be regarded aa highly satisfactory, for, according to our analysis, the valuable principles of the meat have not only been preserved intact, but the fresh, agreeable, and natural flavour of beef has also been retained." — Lancet, January 7th, 1893. Supplied to Her Imperial Majesty the EMPRESS of RUSSiA. CAUTION.— Beware of Imitations. Each genuine article bears the Original Firm's Signature and address Price Lists of Invalid Preparations free on application to BRAND & CO., Limited, 11, LITTLE STANHOPE STREET, MAYFAIR, LONDON, W. The New I With th These papers are of different i per sheet ; Double Elephant (40.; (21 hy 16i inches) for "Black am SJIOOl NEWMAN ;alIed:^OLD MONKEY BRAND !" rh"l W^ON't'wASH clothes'. Mo' ■'^^ r Tin like SiK'i (fopper ]\\\e Go Paint liKe ]^ew s5poHess £arihenw'are, (?rocKer)^ like jVlarble, J\1arble Wh ^Brass Ware liKe jVlirrors. We cannot u ifV/ON'^ Wash Cloti- MANUFACTURER OF EVERY ARTICLE FOR THE ARTIST IN WATER COLOURS. THE ARTIST IN OIL COLOURS. THE PHOTOGRAPHIC COLOURIST. OP SUPERIOR QUALITY. 24 SOHO SQUARE, LONDON, W. C'ltalos^ues and Circulars post free. ~~NE W MAN'S FIjAKE WHITM Y¥ oTl IS MORE BRILLIANTLY WHITE, AVELL PREPARED, AND LASTING THAN ANY OTHER. Artists' wATER-coLbuji tabletsT For Genkral Artist Fubi'oses axd " Black and White." Btout Cardboard covered with the Best tluality of Drawing Paper of everj- Variety of S nrface . Whatman's "J'wV.'s " -S'pecia/ Creswick with "A"' in Water-Mark of each Sheet. I'repa'cil Varley Paper, &c. EOT PRESSED, FINE GRAIN, MEDIUM OR ROUGH. Pbicks and Sizss of Tablkts Kept in Stock: — With extra thick and more expensive papers . lOi by 7? inches Sa. dozen 6s. dozen. 144 by lOi tis. ,, 128. ,. 21 byl4i „ 12b. ,, l8s. 29 by 21 ,, 24a. ,, 36b. „ &o.,&c. Other Sizes made to Order. [8ke CiRcuLAKt. 24, SOHO SaUARE, LONDON, W. i It?' THE WORK OF WALTER CRANE. I.— INTRODUCTORY. Headpiece, Deaig'ned by Walter Cran(>. By permission of Messrs. B. & K.Clark. Ltd., Edinburgh, owiiora of the Copyright. iix; H E NOTION OF A WORKER IN ART UNDICRTAKING TO WRITE A COMMENTARY UPON HIS OWN WORK MAY I SEEM A STRANGE ONE. ' YET THERE IS SOMETHING • TO BE SAID FOR IT, IF IT IS NARROWED DOWN TO I WHAT MIGHT BE CALLED the natural lii,stor\- of the work, the sources from which it sprung^, the influences under which it developed, and tlie aims and ideals by which it was inspired. However impossible it may be to give anything like a complete view of one's life's work, at all events a man ought to know somethifig at least about his own offspring, although there are many clever people nowadays who are quite ready to give him every information on that point, including much that has, to the subject, at least tlie charm of novelty. In the course of life's journej' the traveller's pack that we take with us undergoes many vicissitudes, and many things once thought essential are cast to the winds. We constantly have to revise our outfit, though we continuall}' add to it. Yet, looking back, we see that certain things we considered at the time of little account ser\^ed their turn, and often influ- enced the whole course we have taken since. Like the traveller we like to recall the various hostelries that sheltered us, the brave heraldry under which we en- camped, which form afterwards unforgettable landmarks upon our road. It seems just as possible to be born with pencil and paper in hand as with silver spoon in the mouth (as we are told is the fate of sonie), but being the son of my father I cannot remember life without those primal neces- sities — I mean pencil and paper—or, as in those days were the child's principal drawing materials, ^t^/c/'/ and slate. The facility which comes of early and constant practice, and the imitative faculty (evolved, I believe, in all by seeing work going on), were entirely fostered by the cir- cumstances of my early life, and confirmed by early practical direction. Recollections of the age of seven or eight years include certain fanc^' portraits of gentlemen in the large-patterned waistcoats of the early fifties, which I had the temerity to attach to certain studies of hands made by my father when painting his portraits and afterwards cast aside. These, so embellished, were .shown to visitors, who ex- pressed amiable surprise— especially at the skill with which the original hand was produced ! Undaunted b3' these early successes, and in spite of the apparent attrac- tions of gunpowder, percussion caps, and old helmets, I remained faithful to pencil and paper, while essaying to depict scenes from the Crimean war, illustrations to Scott, alternating with copies from Frederick Taylor and Sir Edwin Landseer. A passion for drawing animals carried my early studies in that direction, and was afterwards .strengthened by study at the Zoological Gardens. But these earh- years of which I am writing were spent at Torquay, and it is to that neighbourhood that I owe my early impressions and love of the sea and landscape. Being brought to London at the age of twelve, my childish ideas were naturally much influenced by the sights there. I distinctly remember the excitement of .seeing the Academy Exhibiticn of 1S57— the year of Millais's 'Sir Isumbras.' Living quietly in the western suburbs, from which, at that time (before metropolitan railways) fields and farmsteads were easily accessible, my out- door studies and sketching of animals went on, but my father possessing a copy of John Ruskin's first volume of "Modern Painters," I was soon attracted by the eloquent descriptions of nature and of Turner's pictures therein. The sight, too, of certain works of some of the leading pre-Raphaelites had a great effect, even at fourteen. I read Ruskin's " Elements of Drawing," and sought to draw trees with every leaf showing. 2 THE EASTER ART ANNUAL. A set of coloured page designs to Tennyson's " Lady of Slmlott," were, I think, my earliest effort in the way of book decoration, and I wrote out all the poem ; this was a true forerunner or germ of the method of later work. These were shown by a friend of the faniil3- to Mr. Ruskin, and also to Mr. William James Ivinton, the famous wood-engraver, poet, and chartist. The former praised them, the latter at once found room for me in his office, at that time in ICssex Street, Strand, the windows overlooking Fountain Court, Temple, and I was formally bound apprentice for three years to learn the art of drawing on wood for the engravers. I was in the midst of what was then a flourishing craft. To this circumstance may be attributed the determina- tion of my work in the direction of book illustration. I was put to all sorts of work, from diagrams for medical books and trade catalogues, to illustrations of stones, and even to work which would now be described as that of a special artist to an illustrated paper. I also had oppor- tunities of seeing the work of many different artists on the wood, from John Tenniel to D. G. Rossetti and Fredk. Sandys. At Linton's office, too, I first made acquaintance with the work of William Blake (as he, Linton, did the reproductions for Gilchrist's book). All these influences no doubt had their effect, as had the possession of the now famous Moxon's illustrated Tennyson of 1857, for which I saved up my pocket-money, though the designs which fascinated me were those of Rossetti, Holnian Hunt, and jNIillais exclusively. Such influences, however, were not much in evidence till later, I think. A certain trade-prettiness was then in demand with publishers, and as there was one's living- to get at sixteen, one had to endeavour to meet the supply or starve. Journals like " Once a Week," however, were introduc- ing the newer and stronger school of artists to the public. Tenniel, Leech, and Phiz still represent the older style, but artists like Millais, Charles Keene, Fredk. Walker, G. J. Pinwell, M. J. Lawless, and Fredk. Sand3'S, gave a distinct character to the journal in its best days, in which it seems to have recently been re-discovered by some, with all the triumph of original patentees, that English art reached its high watermark. I soon became a contributor to " Once a Week " myself, as well as to "Good Words," and later, but on one occa- sion only, to " Punch." The publication, by Messrs. Smith, Elder & Co., of " The New Forest," by John R. Wise, in 1S62-3 (after my indentures with Linton had expired), gave me further opportunities of cultivating a love for landscape ; but, though the book was successful, the drawings made during a tour through the district with the author, did not show any very marked leanings as to style — which perhaps, at seventeen, would be too much to expect. They, however, received praise from G. H. Lewes in " The CornhiU," and the work was the means of bringing me a valuable friend in the author. I did not forget, however, that my first love was paint- ing, and strange to say, a very early effort, ' The Lady of Shalott ' (again) found a place in the Academy Ex- hibition of 1862. This brought me a patron, a Scotchman too, who actuall}' gave me further conmiissions, and I went on painting small pictures, illustrative of Keats and Tenny- son, for this gentleman, for two or three years, until, my modest efforts being steadily refused at the then almost only door of a painter's opportunity, the R.A., I suppose he got tired, although I did not, but continued to carry on painting, with my book-work, and worked at life study in the evenings at " Heatherle3-s." The opening of the Dudle}' Gallery as a general exhi- bition of water-colour drawings in 1866, gave a new opportunity of exhibiting pictorial work, and I had a drawing accepted, and continued to exhibit there eveiy 3'ear until its dissolution or part absorption into the Institute in Piccadilh-. THE WORK OF WALTER CRANE. II.— EARLY TOY BOOKS. The illustrative traditions which mostly obtained favour with publishers were not then of a very high order. The gift book of the early sixties chiefly relied upon the pretty bits of Birket Foster — certainly very pretty— the picturesque and romantic style of John Gilbert, and the neat drawings of John Tenniel, G. Dodg- son and S. Read, for old houses and scenery, E. Dun- can for sea and ships, and sometimes a stray Millais or Madox Brown to give a dash of piquant pre-Raphaelite flavour. This was the general recipe, and these repre- sented the general influences in book illustration when 1 began work. It is true that the late Mr. H. S. Marks published some decorative panels as illustrations to nur- sery- rhymes — figures in bold outHne and flat colour on yellow to represent gold backgrounds, as he has since done much work of the same kind. It was not until about 1865, in the coloured designs made for some toy-books, that anything like a new depar- ture in treatment is observable in my work of this kind. The first were a set to " House that Jack Built," "Cock Robin," "Dame Trot and her Comical Cat," I think, published by Warne «S: Co. I certainly remember this firm requesting (through Mr. Edmund Evans, the engra- ver and printer who sent me the work), that some chil- dren I designed for another book " should not be unneces- sarily covered with hair "—long hair being at that time considered a dangerous innovation of pre-Raphaelite tendency. By i86g and 1S70, with "The Fairj- Ship," " This Little Pig," and " King Luckieboy," the style of the coloured toy-books became clearly marked. With these, then issued by the house of Routledge, the series commenced which ended in 1876. The set of toy-books, done in association with Mr. Edmund Evans, who printed them in colour for ]\Iessrs. Routledge, showed a gradual development ; and, com- paring the first (which were really done to order, and From " Tlio Thr£ ■ Beai Designed by Walter Crane. PubliBlied by Mr. John Lane. almost to a given pattern) with the last, the change ot feeling is complete. In the first few I was limited to three colours, that is to say, the key block and a red and blue, any gradation being rendered on the colour blocks by graver lines. " Sing a Song of Sixpence" was pro- duced in this way, and shows perhaps a more distinct decorative aim than others of this time. The figures in this were without backgrounds, and the text formed part of the design with large blue and red more or less Gothic initial letters. Well, ten years generally counts for a good deal, and in the course of that time many things had had their effect. About 1865, I think, Japanese fans and prints began to appear in London shops, and about this time, at a country house in Cheshire, I met an officer in the navy, whose ship had been in Japanese waters, and he had a sheaf of colour prints, which he considered merely as curios. Finding I was struck with them, I suppose, he gave me a handful, and their influence is certainly dis- cernible in the treatment of the toy-books after this date.* Black was used as a colour as well as for outline, hatching disappeared, and tints as harmonious as pos- sible, wnthin the somewhat crude and limited range of printing ink, were sought after. Mr. Edmund Evans was known for the skill with which he had developed colour-printing applied to book illustration, and I was fortunate in being thus associated with so competent a craftsman, and so resourceful a workshop as his. The departure was a new one, and was not at once responded to. The new toy-books were issued with a number of others of a very different t3'pe, and were not specially differentiated in their style of cover and get up till later. The publishers issued a selection in a red cloth-covered volume with the title " Walter Crane's • In the background of < done in 1867 or 1868, I think, from a crape colour print. a Japanese s Dnc, Two, Buckle my Shoe,'' c which I remember adapting 4 THE EASTER ART ANNUAL Picture Books, (Eoutledge, 1874-5.) Picture Book," un- beknown to me, and this seems tohave been a. success. ]\Iy six- penny toy - books, of which I used to do two or three each year, were presently issued in a specially designed cover, and continued until 1S76. M3' marriage in 1871, and the long visit to Italy which followed, must be counted as im- portant influences on my work. One had previously fed upon the earl 3- Italian school at our National Gallery ; and such painters as Paolo Uccello, Benozzo Goz- zoli, Carlo Crivelli, Botticelli, the early Ve- netian school, and Mantegna, had long been one's most cher- ished masters; as well as Albert Diirer prints, and the Parthenon sculptures at the Bri- tish Museum. In the larger series of shilling picture books, which was started after my return to Ivondon in 1S73, these influences, con- firmed and blended with Japanese influ- ences and those of the forms of later Renais- sance art, are to be traced here and there in the treatment and accessories of these designs, which were more elaborately printed than the former toy-books. Eight in all were issued : "The Frog Prince," "Beauty and the Beast," "Goody Two-Shoes," "Princess Belle Etoile," "An Alphabet of Old Friends," " The Yellow Dwarf," "The Plind in the Wood," and " Aladdin." The Italian influence is also discernible in the designs for the sixpenny toy-books which appeared from this time onwards— as in "Bluebeard" and "Jack and the Beanstalk"; culminating, in a still more marked way, in the treatment of "The Sleeping Beauty in the Wood," which closed the series in 1S76. I had been accustomed to introduce into these chil- dren's book designs not only pictorial ideas which in- fluenced one at the time, but any passing impression, or whim of fancy and form, as in details of dress, furniture, and decorative pattern ; and though the production of these books could hardly be regarded by either designer or printer as exactly lucrative, they led the way to other work, and had considerable indirect effect, besides being an unfailing source of amusement and interest— at least to their designer— and a means of suggestion in details of design in decoration and colour schemes of various kinds. Fi-om "The Hind ill the Wood." Designed by- Walter Crane. Repi'odnoed by Mr. Edmund Published by Messrs. George Routledge and Sons, Ltd. III. — BOOK DESIGNS. A MORE direct attempt to introduce current ideas and passing phases of thought and art, science and literature, and to unite tliem in a sort of mock cosmical, fantastic, and allegorical medley is illustrated in the set of designs I made, with verses, entitled, "Mrs. Mundi at Home," which were photo-lithographed from my drawings {made the same .size), and published by Messrs. ilarcus Ward & Co. in 1S74-5. The general idea was that Mother Earth, or the Spirit of the World, as a grand dame gives a party, and invites the great Lord Sol and Lady Luna, with all her neigh- bour planets and principal astronomical luminaries, with the four seasons, and the elements, rain, hail, frost, snow, dew, and in addition to these the deities of the sea, together with all sorts of human notabilities and nationalities, the whole forming a fantastic masque for the introduction of ;more or less satirical or punning allusions to the fashions and furore of the day. The ideas were perhaps too much mixed to be generally appreciated. At any rate I never understood that the work was ever popular ; but again it afforded the author vast entertainment, and even drew from one distinguished THE WORK OF WALTER CRANE. 5 artist— Mr. Linley Samboiirne— a very sympathetic letter; all the more generous as one was at that time compara- tivelj- unknown. "Sic transit gloria Mrs. Mundi," as one of m}' reviewers said, in a friendly notice of the work in the Belles Lettres section of The JVesfmiusfer Reviezv. In 1S77, still in concert with Mr. Evans, " The Baby's Opera" was planned. My sister, who had supplied most of the renderings in verse of the old nursery tales to fit into the little tablets left for the legend on my toy- book pictures, collected and arranged the tunes ; but only music type was used. I made the pictures and the borders, and Mr. Evans did the printing. The price was five shillings, but there was no gold 07i the cover ! The book was weighed in "the trade" balance and found wanting, in fact it " would never do." The public, however, thought differently. An edition of ten thousand was immediately sold out, and another was called for, and the book has been in demand ever since, having reached its fiftieth thousand. It was followed in 1879 by a companion, " The Baby's Bouquet," a book of the same size and general plan ; that is to say, it consisted of fifty-six pages, twelve full-page pictures, and every page bordered : the whole printed in colours, including the cover design, and with music selected and arranged by Miss Crane, as be- fore. This, too, was almost equally successful, and still sells along with "The Baby's Opera," from the house of Routledge. To make a triplet, '■ The Baby's Own ,Esop ■ ' followed in 1SS7, a sufficient in- terval to allow of cer- tain differences in con- ception and treatment both of pages and pic- tures, and there was no music in this case. The subject, and perhaps the effect of a second visit to Italy, may account for a more classical or Italian feel- ing in some of the full pages than is shown in "The Baby's Opera" and " Bouquet." It is not, therefore, quite so simple or direct in its appeal to childhood, and, indeed, wasnot in- tended so exclusively. The wisdom of ylisop is not easily ex- hausted, " not even by the youngest of us." The attempt to spe- cialise certain kinds of work for children is not always success- ful, and it frequentlj- happens that entertain- ment in the shape of books and pictures in- tended for them have an attraction for their elders or vice versa. There is at least one great advantage in de- signing children's books : that the imagination is singu- larly free, and let loose from ordinary restraints, it finds a world of its own, which may be interpreted in a spirit of playful gravit^^ which sometimes reaches further than the weightiest purpose and most solid reasoning, assisted by the most photographic presentations of form and fact. It appears to me that there is a certain receptive impres- sionable quality of mind, whether in young or old, which we call child-like. A fresh direct vision, a quickly stimu- lated imagination, a love of symbolic and typical form, with a touch of poetic suggestion, a delight in frank ga}' colour, and a sensitiveness to the variations of line, and contrasts of form — these are some of the charac- teristics of the child, whether grown up or not. Happy are they who remain children in these respects through life. "Baby's Own ^sop " had its origin in a MS. of some verses entitled "The Wisdom of -Esop," condensed, which were sent to me by my old master, W. J. Linton, who had taken up his abode in the United States.* "Just as I am completing these notes, I learn with sorrow of his death at Newhaven, Conn. W'ith W. J. Lioton passes not only an historic link in en- graving tradition, hut a genial and s}nipathetic spirit only too rare. Picture Books. (Boutledge, 1874-5,1 6 THE EASTER ART ANNUAL These verses, with a few changes here and there, I used as the text of my book with its present title. Whatever other influences may have contributed to the character of these three books, it is certain that they were designed in a congenial atmosphere, and in full view of child-life around one, and in the observation of the ways of animals and flowers, and in a studio surrounded by an old garden and orchards and meadows— although not much beyond the four-mile radius from Charing Cross- but now cleared off the face of the earth by an electric railway. In 1879 my old friend, the author of "The New Forest," showed me a scheme he had for a Fairy Masque, and proposed that I should illustrate it. I was staying with him in Sherwood Forest at the time, and most of the designs were done there. The work was published by Messrs. Sotheran in 18S1, but it was some time in preparation, as I could only com- plete the designs in the intervals of other work ; and the preparation of the plates in photogravure by Messrs. Goupil (now Boussod, Manzi) & Co., also took time. The drawings were all made in pencil, the grey, silvery, soft effect of which was well rendered by photo- gravure, the designs being slightly reduced in size. They were made niostlj", as I have said, in the country under the direct influence of the actual forest scenery of Sherwood ; and although there is no attempt to realise anj- scenery, the lines of the tree boles are utilised with the groups of figures, and the general feeling was no doubt more distinctly of the forest side — " of Flora and the country green " — than it might otherwise have been. Certainly- the work of my friend was steeped in the knowledge and love of the country, and was the product of the solitarj- life of a sensitive and scholarly mind, and of an ardent love of wild nature. He was also a profound student, a naturalist, and an advanced philosopher ; and a man of letters of uncommon qualities, showing both humour and satire, but, like so many able writers of our days, much obscured in anonymous reviewing, and never realising full sympathy and appreciation for his original work. His work already mentioned, "The New Forest: its History and Scenery," remains a standard one, how- ever. John R. Wise is buried at Lyndhurst, so that his grave is shadowed by the forest he loved so well. Peace and honour to his memory— and may the fairies lightly dance where he lies. THE WORK OF WALTER CRANE. 7 In between tlie works mentioned \\\Any less important book designs were done in the way of frontispieces and occasional illustrations, titles, covers, &c. Many of these I have forgotten, or have never seen since. There were two books published by Messrs. Cassell about 1870, in which I had a hand, and which perhaps had more claims to remembrance. One was " The Merrie Heart," a collection of nursery rhymes; and the other was entitled "King Gab and his Story Bag," by William Marshall. A page illustration in the latter fur- nished the motive for an early picture now in the South Kensington Jluseum, called " The Three Paths." The series of stories by Mrs. Molesworth was com- menced about 1875, by Messrs. Macmillan, and I was invited to do the illustrations — a set of seven to each and a title-page device. The first was "Tell me a Story," and the series is now quite a large one. In 1S80, I undertook the illustration of Miss De Mor- gan's "The Necklace of Princess Fiorimonde and other Stories," which was also published by Messrs. Macmillan. The designs were arranged as headings with the titles of the stories, initial letters, and full-page pictures engraved upon wood. A large-paper edition (with the cuts on India paper, mounted) was published. This work, I think, led to the idea of doing an illustrated edition of ' ' Grimm's Household Stories," b^' the house of Macmillan. Mj- sister made a translation of about half the " Haus- marchen " of the brothers Grimm, and this, with about a dozen full-page designs as well as headings, initial letters, and tail-pieces to each story, was published in 1SS2. The drawings were done about a third larger, and all were photographed upon wood and engraved by Messrs. Swain. A large-paper edition was also printed of this work. The printers were Messrs. R. & R. Clark, of Edinburgh. For this firm I afterwards designed a set of twenty head- ings, one of which appears on the opening page of this number. These headings were used to decorate "The Claims of Decorative Art," a collection of my papers published b3' Messrs. Lawrence & Bullen in 1892. The design of "The Goose Girl" (reproduced on page 9), from the " Grimm " volume, was seen at the time by my friend, the late William Morris, when I was at work in my studio one day. He called to ask me to do him a design capable of being worked in arras tapestry, which he was at that time practically engaged in reviving. 8 THE EASTER ART ANNUAL He saw this design of the Goose Girl, and taking- a fancy- to it, asked me to reproduce it as a large coloured car- toon, 8 feet by 6 feet, which I accordingly did ; and it was dnly worked out by him and his assistants as a tapestry. The cartoon was afterwards exhibited in the Grosvenor Gallery- at a winter exhibition of decorative designs. It therefore has a dual existence as a black- and-white book illustration and also as a tapestry. Another work in progress about this date, in associa- tion with Mr. Evans, was "Pan-Pipes," a book of old songs — the music arranged by Mr. Theo. Marzials. In this one returned to book decoration in colour, the tints being of a more subdued and reserved order than those adopted heretofore. This, however, was supposed to be more in character with the old-world flavour of the songs and tunes, so tastefully arranged by Mr. Marzials. Here, again, ordinary music-type was used, which one would be hardlj" content with now, in that more complete search for the unity of the page we have learned of late, and which the Kelmscott Press has done so much to in- form and enlighten. In 1S83 " The English Illustrated Magazine " w'as started b3- Messrs. Macmillan, and I was applied to by the then Editor, Mr. Comyns Carr, for a design for the cover. Under that cover appeared "A Herald of Spring," in the form of four decorated pages, the text being written out, in the way I had previously adopted in the designs to "The First of May." This was followed by " Thoughts in a Hammock," similarly treated, and, later, by "The Sirens Three," a series of quatrains inspired as to form, by Fitzgerald's famous translation of Omar Khayyam. Each page in this work was also treated as a decoration, the verses written out, and forming part of the quan- tities of the whole design. The poem appeared in the magazine in instalments through the j'ear 1S84, and w^as finally published in complete book form by Messrs. Macmillan in 1S85, with a dedicatory sonnet to William Morris, and a newl\- designed title-page, cover, and other small ornamental additions, the verses being also printed in plain type apart from the designs. In these verses and designs no less than an attempt was made to express a certain conception of the universe founded upon the relative conceptions of modern philo- sophic thinkers, and to cast them into definite poetic form. The sense of awe, of inevitableness, of the action of necessity, of the tra- gedy of human life, and also the wonder of its gradual evolution from the dim obscurity of the past — the di ITerent epochs of art and thought in the ages of the world, and all seem- ingly controlled by the ebb and flow of the tides of time and fate — these are the main ideas of the verses and the designs, and under the p ressure of such thoughts. And in view of the spectacle of the present struggle for existence in the hu- man as well as the natural world, when the seer of the vision is brought to the verge of despair, he has an- other vision^ — of Hope who draws '■ tho pairitod veil '■ ijf things that arc,"'— and then discloses the possibilities of the future, when man, tri- umphingover nature (b_\" obeying her laws) and bis own selfish passions, sball realize a true social order in harmony- with his own better nature and higher aspirations. Next in order appears " A Romance of the Three R's." Tlie three parts which compose this volume also existed as separate books. These were " Slateandpencilvania," "Little Queene Anne," and " Pothooks and Perseverance." The idea was a playful fantasia upon the motives of Read- ing, Writing, and Arithmetic, taking the troubles of the novice in his or her efforts to acquire the usual educa- tional rudiments, as the source of a series of fanciful inci- dents and adventures, with aplaj-upon wordsand meanings. THE WORK OF WALTER CRANE. HE designs are characterized by a different feeling to the earlier pic- ture books, both in idea and colour, and have a different effect also, ow- ing to their having been drawn on zinc lithographic plates, and also printed in colours lithographicall}". Another work undertaken for the same firm about tliis time, or shortl\' after- wards, was also pro- duced by the same me- thod ; the drawings being made upon litho- graphic plates of zinc with the brush. This was "Echoes of Hellas," which had its origin in a series of tableaux and dramatic interludes ar- ranged b}' various ar- tists, among whom were Mr. G. F. Watts, Lord Leighton, Mr. Henry Holiday, and myself,— theauthorof thelibretto being Professor Warr, and several distinguish- ed musicians writing the music of the songs and choruses — such as Mr. i\Ia!colm I^awson and Sir Walter I'arratt. Tlie matter of these performances was ga- thered into a book un- der Professor Warr's editorship, and I de- signed accompaniments, in the form of friezes, Ijorders, and figure groups, representing the leading incidents, and formingdecorations U])on each page. The work is in three parts, the first dealing with the "Tale of Troy," the second " The Wan- dei-ings of Ulysses," and the third "The Stor^'of Orestes." These classic themes of course presented a variet3' of subjects by no means the easiest in the world to treat, and yet hy their ^■ery nature and associations extremely attractive to a designer in line. It was curious that in the spring of the next \ ear I was enabled to pay a visit to Greece, and thus realize in some measure the desire of years. Lithography again was one of the methods of reproduc- tion used for the next work, published by Messrs. Cassell and Co., "Flora's Feast: a Masque of Flowers," which l^ears the date i88g on its first edition. The book had its iz-'j? origin in some rough sketches done to amuse a little girl. These were a f terwa rds re-designed, care- fully drawn in out- line, the outlines photo-lithographed or processed, and the proofs carefuU}' coloured as a guide to the chromo- Prom" Qrimm's HoiiBeUold Stories." " Tlio Qooae Qirl." Desiened by Walter Crane. By permiHBion of MossrB, Mac- miUan & Co,, Ltd, Prom " Qriram'a Housetiold. " The Goose Girl,- Designed by Walter Crano, By permiasion of Messrs. Mac- millan. & Co., Ltd , lithog-vaplier. The scheme of Flora calling the flowers from their winter sleep, and these appearing- in order through the seasons of the year, is simple enough, and gives entire freedom in designing the different groups of flowers, which are personified in a way that aims at expressing their different characters and constitution by emphasizing certain structural features of each flower, utilising petals and stamens, &c., as details or adjuncts to a fanciful costume. This book proved as great a favourite as was Baby's Opera," and has passed through several editions. There is something, I suppose, in universality of appeal— and everybody loves flowers. " Queen Summer" followed "Flora's Feast" as a kind of not unsuitable companion, if not necessary comple- ment, although the conception and treatnient were in manv respects very different. The germ of the idea had existed a long time in MS., in verse form, in my desk, and when, as now, called upon to form the thread on which might be strung a series of designs, soon took definite shape. The style of design, type of costume, and form of lettering, is more mediaeval than " Flora's Feast," and here and there lightly suggestive of the Ger- man renaissance, perhaps, with its plumed flat caps and fluttering mantling ; but then it must be remembered that the whole idea of the thing is medieval, with its tourna- ment and accompaniments. The floral dresses, however, follow the same principle of utilising and emphasizing the structural characteristics of the flowers represented. The same year (1S91) appeared " Renascence : a Book of Verse" (London, F:ikin Mathews). This included " The Sirens Three," before spoken of (without the illustra- tions), as well as other verses, both earlier and later. These were decorated with headings and frontispiece, colophon and other devices in black and white. In this year also T collaborated with William Morris in producing the illustrated edition of "The Glittering Plain," issued from the Kelmscott Press. He designed all the ornamental borders and title and initials, while I supplied the little pictures enclosed by them. I doubt, however, if I was ever quite Gothic enough in feeling to suit his taste. In 1S91, at the invitation of the Fine Art Society, a representative exhibition of my work was arranged in their large room in Bond Street. It included pictures in oil and water-colour, decorative designs, cartoons and wall-papers, relief work in gesso, and a large number of the original drawings from the books which I have men- tioned here. In the autumn of this same year a \'isit to America was decided upon, and at the suggestion of the late Mr. Henry Blackburn, the authorities of the Boston IMuseum of Fine Arts were approached, witli the result that I received an invitation to bring over the collection shown in Bond Street to form an exliibition there. This was accordingly done, and the good ship Cephalonia in due time bore the Crane family and this freight over to Bo.ston. This was in October, 1S91. Before leaving London l\Ir. G. F. Watts had done me the honour to ask me to sit to him for a portrait. This was painted in the studio at Little Holland House in about six sittings, with an interval of about a fortnight between the fourth and two flnal sittings, I think. This picture would be remarkable if on!}' for the fact that it was received, when exhibited at the New Gallery the fol- lowing summer, with unanimous approval. It is com- monly held, indeed, to be one of the finest works of the great master. One cannot but feel that one was fortunate in happening to have been the subject, since there can be no doubt either of the quality of the work or of the artist -^vho produced it. THE WORK OF WALTER CRANE. From " The Our American cousins had certainly heartily re-echoed the appreciation with which the coloured picture books and other published designs of mine had been received at home— more especially at Boston, where the feeling for, and interest taken in, English art and literature, and English intellectual and social movements is much more marked than in other cities of the vStates. If imitation be the sincerest form of flattery, I had had reason to feel flattered, since certain firms in both Boston and New York had long before this put forth pirated editions of certain of my books. ]More gratifying were the private tributes I had received from time to time from Americans as to the estiniation in which my work was held in their country", and man}' had been the enquiries as to when I might be expected on trans- atlantic shores. One certainly met with man^- deliglitful people and many excellent friends, a great deal of curiosity, and in Boston, at least, a very decided interest in one's work, as shown at the Art IMuseum there under tlie able and courteous direction of Colonel Loring, the arch;eological and classical learning of Professor Robinson, and the enthusiasm and extraordinary knowledge of Japanese Art of Professor Feneloza. I look back with pleasure to ni}- association with these gentlemen at that time, as well as to many other most valuable and interesting acquaintances made not only at Boston, but at New York, Chicago, Philadelphia, and St. Louis. There can be no doubt, however, that in some quarters one's avowed sympathy with socialism and the struggles of the worker towards economic freedom considerably discounted the appreciation extended to one's work as an artist — but this is a sort of thing, strange as it may seem, quite possible to meet with in any so-called " free " conntr}'. My impression was, however, that from this point of view, and certainly from the point of view of the labourer, the United States were far less free, and social sentiment was far less advanced, than in tradition-ridden old England. All the more one valued the frank friend- ship of men like W. D. Howells, Dr. Emerson, and Henry D. I^oyd. As to artistic results of the visit in book-work, there is the "Wonder Book" of Nathaniel Hawthorne, which I was commissioned to illustrate and decorate with designs in colour, by Messrs. Houghton, Mifflin and Co., of the Riverside Press. This occupied a good deal of my time, the whole of the drawings having been made during my stay, and, as it happened, mostly while on a visit to Florida, in a little timber house in the woods ; the oleander in bloom, and the beautiful red bird of those regions flitting about, but— as a counterpoise to these attractions— a temperature of over So degrees ! Some four black-and-white illustrations to a " Dante," for children (!), by Miss Harrison, of Chicago; an alle- gorical design for "The World's Fair," iox The Chicago Herald; and "Columbia's Courtship," for Messrs. L- Prang and Co., of Boston, were among other works done while in America. The latter was a series of twelve designs in colour, representing by typical flgures a short history of the United States, with accompanying verses; the same set of designs as a series of detachable sheets doing duty as "Columbia's Calendar." They were re- markalily well reproduced by Messrs. Prang, whose reputation as colour printers stands very high in the States. The next book undertaken after my return to London in August, iSg2, was of American origin, and for the house of Houghton and Mifflin— " The Old Garden," by Margaret Deland, whom I had met in Boston. The style and arrangement of the illustrations were different again. They were in colour, and somewhat lightly vignetted around the text— known as small-pica Caxton —in the form of headings and half-borders, or springing as foliation from initial letters. The flower-figures re- called the treatment adopted in " Flora's Feast," but on a smaller scale. The cover design, which was printed in colours, is given on page 17. Both this and the "Wonder Book" were printed in Boston and the blocks prepared there, and both, it seems to me, are extremely creditable to American engravers and printers, and the colour eff"ect is remarkably faithful to the original drawings. 12 THE EASTER ART ANNUAL. The next impo rtant work was the illustration of Shakespeare's "Tem- pest " — a set of eight designs {pen-drawings) and a title-page, done to the play on the invitation of Mr. Duncan C. Dallas, the inventor of the Dal- lastype process, by which the drawings were repro- duced. The work was pub- lished by Messrs. Dent and Co., and issued sim- ply as a set of designs without the text. The opening design is repro- duced on page iS. The leaf- border designed for the title-page was afterwards adapted by Mr. Dent for his "Temple" Shake- speare (though not im- proved by reduction), for which I supplied title- pages — one for each play. " The Two Gentlemen of Verona" followed " The Tempest," and was treated in a similar wa\-. as a set of pen-drawings, reproduced in fac-simile b3' Mr. Dallas's process, and also published b}- Messrs. Dent. " The Merry Wives of Windsor" was the third of the sets, but this was issued in book form b}' Mr. George Allen. Mr. Allen about this time proposed an illus- trated edition of "Spen- ser's Faerie Queene," which, curiously enough, had been a dream of mine in earlier da^'S, as the antique form, the beauty and chivalric ro- mance, with the vivid al- legory, and fine sen se of decorative detail of Spenser's poetry were extremely alluring. The task, therefore, of design- ing a series of full-bor- dered pages, one, and sometimes two, to each canto oi the six books of the poem, besides headings, initial let- ters, and tail-pieces to each canto, though formidable, was a congenial one, and I undertook it with peculiar interest. The exigencies of publication demanded the de- livery of the material for one part each month, which meant very close and continuous work, difficult enough, when circumstances obliged one to attend to other work at intervals, to say nothing of the continuity having to be broken every month by a visit to the Manchester Municipal School of Art. The work was commenced in the summer of 1894, and the last designs were sent in at Christmas, i8g6. " The Shepherd's Calendar," with twelve full-page designs, a double title-page, two borders used alternate!}- throughout the book, and the emblem devices accom- panying the page designs to each eclogue, not inappro- priately follows "The Faerie Queene" in 1897; but this was at the instigation of Messrs. Harper and Brothers. This work completes the list of works of any import- ance in the waj' of book designs of mine which have appeared up to the present time, unless one may men- tion the reissue of the old toy-books through Mr. John Lane, which commenced with "This I^ittle Pig," "The Fairy Ship," and "King Luckieboy," at Christmas, 1895. Messrs. Routledge having sold me the original blocks, THE WORK OF WALTER CRANE. these books being, many of them, out of print, it was thoug-ht that if revised and printed on larger paper, with accompaniments of new designs for end papers, and served with new covers, they might again appeal to the public as former favourites in a new dress; and this hope has been full}' justified. The first three were followed, in 1896, by "Mother Hubbard," "The Absurd A.B.C.," and "The Three Bears"; and last Christmas, by "Cinderella," " Puss- in-Boots," and " Valentine and Orson." Thus, after about a quarter of a century, the earh- toy- books are still alive, and the}" ma}- be said to have ap- pealed to two generations of children, having enjoyed the distinction of being thumbed and torn up in the nursery on the one hand, and on the other, of a dignified repose in the drawers of tlie collector. LABOUR CARTOONS AND DESIGNS FOR THE SOCIALIST MOVEMENT. Ai.l.rsiON has already been made to the present writer's sympathy with the Cause of Laboiir and the Socialist Movement. The relation of these to art, the question of economic production, and the conditions of labour as they affect the production of art, and the status and spirit of artist and craftsman, was very forcibly brought home about the year 1884 by William Morris in his numerous published papers and addresses given all over the country-. John Ruskiu, long before this, had, from a slightly different standpoint, been driving home much the same truths in his politico-economic writings, such as " Unto this I^ast," " A Joy for ever, and its Price in the Market." He had been a voice in the wilderness, however — the scorn and scoff of the professional econo- mists ; and everyone went on bu3-ing in the cheapest market and selling in the dearest, with perfect uncon- cern, as if "The Song of the Shirt" had never been written. A collapse in trade, however, after a tremendous run of prosperity, with its grim accompaniment of crowds of famishing unemployed, did more than any amount of Romance of the Three H'H." Deaigned by Walter Crane. Bypermieaion of Messrs. Marcus Ward & Co., Ltd. talking or writing to lay bare the foundations ot our social state. A band of active socialists gathered together in London and preached in season and out of season upon this text. William Morris, successful artist, manufacturer, and poet as he was, threw himself and the weight of his social position and credit into the movement. Among the literature of the time which had its effect upon the present writer's mind— alread}' predisposed by J. S. Mill's and by Ruskin's teaching — was a paper on "Art and Socialism," printed at Leek, in Staffordshire. Personal friendship and correspondence with the author, of course, helped as well as the views from the purely economic side b}' other able men like H. M. Hyndman, G. B. Shaw, Laurence Griinland, and others. The immediate outcome as regards design were certain cartoons published in justice and The Co/nmomveal, some referring to passing events, but mostly directed to the embodiment of the principles of socialism and uumis- takeably inscribed with legends expressing the political aims and social aspirations of the party. These cartoons have latel}' been gathered together and re-issued in book form with the verses written to accompany them from time to time. They date from 1886 to 1S97. The principal one, and one, perhaps, which has the most claims to artistic interest, is 'The Triumph of Labour,' a design made in 1891 and published for the May-day of that year. This was a brush drawing in line, photographed, and engraved on wood b\- Henry Scheu, an accomplished Swiss engraver, at that time living in London and working for The Graphic. The print was published with the legends in three languages, English, French, and German, and so went over the Continent. A smaller design drawn hy me upon wood and engraved by the Brothers Leverett, was printed in 1888, as a Christmas card, on the occasion of the printing exhibition at To3-nbee Hall. It bore a well-known text from Isaiah, and the intention of the design was to suggest the promise of a new social epoch bringing hope to the labourer. DECORATIVE DESIGN. Another allied movement with which one has been closely connected, and which has very decidedl}^ in- fluenced the art of our time, is that of the revival of design and handicraft which the late William Morris and d 14 THE EASTER ART ANNUAL. his colleagues initiated by ^rvr^-^^r starting workshops and pro- ducing furniture, textiles, stained glass, and decorations of all kinds. Another phase of the move- ment was entered when a few designers gathered together from time to time under each other's roofs and discussed subjects connected with the theory and practice of their art. The little society (whicli first met at Mr. T.cwis F. Day's house) became in course of time absorbed into a larger and more comprehensive one, named "The Art Workers' Guild," which drew together all kinds of artists and crafts- men for better acquaintance with each other's aims and methods ; and the vitality and usefulness of the idea is proved by its flourishing condition. In the course of time ano- ther movement, with a dis- tinct practical object, grew out of the guild, and partly as the outcome of an agitation commenced in the summer of iSS6, in favour of a really i comprehensive exhibition of the art of the country as dis- tinct from the purely pictorial character of the Academy ex- hibitions. This afterwards was narrowed to a very hope- less and ineffectual plea for the reform of the Academy (chiefly as regards the method of electing the Hanging Com- mittees), owing to the action of some of the leading spirits in that agitation, who were not prepared to jeopardise all their chances of election to that bod}'. " ~ The group of designers and craftsmen interested in the artistic handicrafts who had joined the agitators, how- ever, seeing the chances of a comprehensive exhibition rather remote, parted company-, and re-formed as "The Combined Arts," or finalh", as " Tlie Arts and Crafts Exhibition Society." After man}' difficulties thej- (or I may say we) opened the first exhibition at the New Gallery in the autumn of 1888. I have mentioned the show of designs and cartoons onl}'- which was held at the Grosvenor Gallery in iSSi ; since then no attempt of the kind, so far as I know, had been made. Here was an endeavour not only to show designs and working drawings, but also to exhibit the finished work in different materials of the handicrafts- man, who would show his work and acknowledge his individual responsibility in the same way as had hitherto only been open to the painters of easel pictures. Many fine artists and good workmen in diff'erent crafts have thus come to the fore ; and it is, perhaps, not too much to say that the arts of design and handicraft have \)t fond' Convolvulus still cling^^ H.'^l-ie 1j,OTiey3ucklc spreads hb been distinctly recognised, both in this country and on the Continent, a.s occupying an importantposition, having acquired a character of their own, founded on the essen- tial principle of the necessary- relation of design to its conditions and the limitations of the material of its execution. Personalh', one approached decorative design rather from the painter's and book designer's point of view. In seeking material for harmonious backgrounds one became interested in the design and construction of furniture, of mural and textile patterns, of painted glass, of tiles and pottery, of gesso and plaster work. From "The House that Jack Built," and tlie palace of "Beaut}' and the Beast," one was gradually led to de- corate a modern citizen's dwelling. The ornamental side cultivated in the toy-books developed into special designs for wall-papers and friezes, for embroidery and tiles. My first wall-paper was, naturally, a nursery one, and contained the pictured stories of "The Queen of Hearts," "Little Boy Blue," and "Bo-Peep," arranged in three THE WORK OF WALTER CRANE. 15 .1 ij^atK ToaE,EacK lil^He^d ttnt lom, /Jnd fach onp gought his fallfn foe ; vertical divisions, and repeating, of convse. This was for machine printing from a roller. Then Messrs. Jeft'rey and Co., who, from the first, have produced my wall-paper designs, wanted a block-printed paper, and the result was the " Margarete," which was also offered as a wall-decoration, complete in itself, b\- the addition of a dado of lilies, a frieze of symbolic figures, and a ceiling. A long series of design.s has followed, produced by the firm of Jeffrey and Co., ever since these first efforts (about 1875, I thinl;), and naturally they show consider- able changes of style in the course of \ears, coming under the different influences which have affected the character of one's work from time to time. A comparison of the later designs with the early ones shows the use of a more flowing character of line in the general structure of the pattern, and a richer and more redundant detail for the most part, although this is some- times a matter controlled by the requirements of par- ticular papers— simple or sumptuous. On the whole, one is inclined to return to comparatively simple motives in pattern and colour as more in keeping with the character and purpose of the material and the method of produc tion, but one cannot resist the natural tendency, in the practice of any art, towards growth and evolution— as it were, an almost unconscious impulse, leading one on in the working out of certain ideas of form and line, as if design were, after all, bound to obey the laws of the natural world, the forms of which it sometimes adopts. My essays in textile design have not been so numerous. My first were some embroidery designs, and in the earh- days of the Royal School of Art Needlework 1 did a good many designs, both figure-work and floral, to be worked there. My first attempt at a pattern for weaving was for a Man- chester firm. It was a woollen curtain heightened with silk, and the design consisted of the moon— Luna in her ship— al- ternating with stars. This covered the main field, upon a blue ground. The border showed an arabesque enclos- ing figures of the hours, and in a deep dado-like border at the bottom appeared the cha- riot of the sun in the circular disc, this repeating in a row- in the same way as moon and stars above. Years afterwards I met with this curtain in a sleeping car of the Southern Pacific on my way from San Francisco to New York. Another Manchester manu- facturer made a bold venture in some designs of mine for printed cottons (dress fabrics) to celebrate the Jubilee year of 1.S87. There were two de- signs produced, one of which T give on page 24, which is a " kind of apotheosis of the Bri- tish Empire expressed in a figurative sort of way. Then there is a printed tussore silk produced at Messrs. Wardle and Company's works, at Leek, from a design of mine, embodying the four seasons and the sun and moon. Messrs. Tenipleton Iiave recently produced a carpet design of mine, in Wilton and Brussels, a pattern of daffodils and blue-bells with a border of iris. A design for a damask table-cloth has been very suc- cessfully reproduced by Messrs. John Wilson and Sons. Its theme is the Five Senses, represented by typical figures in compartments formed by scroll work on the field of the cloth, with a border of animals of the cha.se. The motto : ^lay soul with sense united be, Good cheer and ple.-isant company ; And if Beauty meet with Wit. Tlic company, thougb few, is fit. was in the first drawing (reproduced on page 25) used on the subsidiary borders, but it was an objection that the words were necessarily reversed in repetition, and so, ul- timately, a small repeating leaf-pattern was used instead. GESSO AND PLASTER RELIEF WORK. = = = JIY earliest attempts at modelling were with some London clay from a suburban brick-field, I think, and From ■' Queeu Summer." Designed by Walter Crane, By permiHHion of Meeara. Cas- Bell S£ Co.. Ltd. THE EASTER ART ANNUAL I don't think I got any further until, happening (about 1874 "j' 1875) to have some decorative panels to do for the frieze of a dining-room, it occurred to me to raise and gild parts of them somewhat after the manner of the earlj- Florentine school. Even- tualh- all the figures were raised in a paste, made of plaster of Paris and glue, applied to ordinary canvas. After this a rather extensive piece of decorative work fell in my way. The late Dr. William Spottiswoode wished to decorate the large saloon of his country house, at Combe Bank, Sevenoaks, and I drew out a scheme for him. The chief feature was a large ceiling, which existing mouldings had divided into five com- partments—a large one in the centre, and four squares, with corners cut off at the angles. For this ceiling I planned further subdivisions for a scheme of the Seasons and the Planets, to be represented by figures modelled in relief, and gilded and tinted in various waj-s. In the centre was the face of the Sun, and in the compartments of a kind of wheel— to suggest their if I i revolution— the figures of the Seasons— Spring, Sum- mer, Autumn, and Winter. The wlieel was supported at each end by two winged figures ; in the side panels, flanking the centre, were smaller square compartments, with figures suggesting the times of day — Morn. Noon. Eve, Night— and between them, in circles, the Moon on the one side, and Mercury on the otlier. A repeating design of a chain of figures, supporting globes, formed a border. In the square panels at the four corners were figures of Venus, Mars, Urania, and Neptune; Jupiter and Saturn occupying spheres at opposite ends of the ceiling. All the figures were modelled in a gesso of plaster and glue, with cotton wadding used as fibre. The repeating borders were cast in ordinary plaster, and the grounds of the panels were of fibrous plaster.' I also designed for the same room a somewhat elabo- rate chimney breast, containing a modelled group of the Fates, and modelled pilasters and other ornaments ; as well as the enclosing framework of wood, and the metal work of grate, fire-irons, and standards. The door and shutter panels of this room were also fitted with figure designs suggesting welcome and -■ns.- . farewell, and other figures emblematic of tile '>/,vV. ^rts and sciences. A stamped and gilded ' " ■ paper I had designed just previously for Jlessrs. Jeffrey, of an Italian renaissance THE WORK OF WALTER CRANE 17 character, containiiiLi' such elements as peacocks, amo- rini, cormicopi.'e, ami other cniblcms, was used to cover the walls. An illustration of the ceiling desi,ii'n from the ori,t;inal scale sketch is given on page 27. My next decorative work of the kind was the dininir- rooni of Mr. A. lonides, at i, Holland Park. The scheme here comprised a coffered moulded ceiling in square panels, with a design of a branching conventional vine in low relief, framed in by mouldings enclosing a re- peating small pattern of curling tendrils flush with the framework, and having by way of a boss at the intersec- tion of the angles an inverted ("rreek wine cup or cylix— an allusion to the Rubaiyat of Omar Khayyam, a quota- tion from which forms the border to the panel inserted o\ cr the mantelpiece. The frie/.c was also panelled in squares containing subjects moulded in plaster, illustrating the Fables of .-Ivsop, the panels being divided by vertical pilasters witli an arabesque design, also moulded. The whole frieze and ceiling were silvered, and then tinted with coloured lacquers. Mr. Philip Webb had previously designed the woodwork of the room, including a sideboard and the mantelpiece ; and I afterwards de- corated the panels of these with raised designs in gesso, modelled with the brush. That is to say, I supplied the designs, the actual work being done, hi situ, by two as- sistants—the late Mr. Osmund Weeks (who also assisted me in the Combe Bank work), who moulded and fitted the frieze and ceiling panels, and Mr. Leonard Ball. In the same room were also placed two electric-light branches and a set of finger plates from my designs, the models for the latter, made in gesso, being illustrated on page 26. Another somewhat extensive work in gesso and plaster relief was undertaken by nic for Sir F. Wigan, at Clare Lawn. A repeating frieze symbolising the arts was modelled by nic, minilded b\' Mr. Weeks, and fixed in the picture gallcr\-. An extension to the house was designed by Mr. Aston Webb, who also called m\' services into requisition to de- sign and model friezes in gesso and plaster for the draw- ing-room and librar\'. That for the drawing-room consisted of a frieze divided into panels by pilasters or panels filled with a treatment of the linen-pattern, the vertical rigid folds and lines of which contrasted with the lines and masses of the figure groups between them. These were modelled in gesso. The subjects bore more or less on the lighter side of life as !>efitted the uses of such a room. Music of different kinds, dancing, conversation, were all suggested in different panels by groups of figures, in which was attempted a treatment of modern costume adapted to decorative purpose. The doors, and other panels in the woodwork below, were also decorated with gesso panels in relief, with ])atera upon the flat parts of the framing. In the library was placed a frieze playfully suggestive of the histor}- of books and the different characters of their contents, by means of groups of amorini, in jjancls divided by pairs of flat fluted pilasters. In one, for instance, would be the scribe at work with his pen ; in another a Gutenburg at the hand -press. Then. too. groups suggestive of philosophv, science, classical lore, voyages and travels. histor_\-, and ronuince. appeared in the series. This frieze was modelled in gesso and cast in fibrous jjlaster, toned afterwards to a dull i^-ory tint, anil in parts relieved with bronze gold. The walls were covered with the paper known as " Corona Vitfe," after my design. Bolder relief, necessitated by the conditions of light- ing, was adopted in a later plaster frieze— in this case modelled first in clay on fibrous plaster gi-onnd and moulded by Mr. Priestley — designed for another room of Mr. Aston Webb's, a dining-room for Sir Weetman Pear- sou, at Paddockhurst. The scheme of this one was a frieze, di\-idcd into Book Cover. Dcsieiic-d. by- Walter Crane. By periuiBBion of Mesars. Harper and Brothers. THE EASTER ART ANNUAL. panels of -various lengths accord- ing to tlie structural divisions of the wall, embod^-ing, by means of tj'pical groups, a sort of short and plaj'ful history of locomotion and transport. The principal panels on one side showed primitive man with his squaw and child on foot, he car- rying his game across his shoul- ders, she her baby at her back in the manner of the Indian and the gipsy, and the child she is leading dragging a primitive toy -a rein- deer— after him. A group of wild horses is in front of thcni ; two men are struggling to hold and to mount two of the horses, while a third, to t3'pif\' man's conquest of the horse, and the advantage it gave him, is riding off, triumph- antly poising his spear. There is here a break caused bv the arcade of a music gallery, and on the other side the story leads on to the launching of the pri- mitive canoe by the earl3' boat- builder, or lake-dweller, who has placed his family on board and is pushing off. They are regarded curiousl}' — or rather looked back upon— from a passing wagon of the primitive Aragon t^'pe with solid wooden discs for wheels, drawn bj' oxen. The famil}", with the liouse- Iiold stuff, sits inside or on the shaft, and the patriarch walks alongside the oxen with his goad and his dog. A considerable jump in time must be pre-supposed between this and the next panel, which, howe\-er, occurs at the fiirther end of the room, and represents transport b}- water by means of the canal boat. Two boys of the Sandford and Merton period watch the wonder, lia\-ing respectiveh- a toy ship and a toy cart and horse in their hands. This panel is balanced by one showing a stage-coach with four-in-hand careering along the road, with inside and outside passengers, and the guard blowing his horn. Then we cross to the window side, where the panels are more subdivided. Here the navvy and the railroad appear, the nursemaid and perambulator, the bicycle, and finally the motor car, rather fancifully treated. Then balancing each other at each end of this portion of the frieze, which runs narrow over the tops of the windows, are allegorical figures, namely, Labour and Science giving wings to the wheel by means of which Labour and Science give wings to the world. Finally, in the panels divided by the projection of the chimney breast, are placed symbolical subjects : one being the Genius of Mechanical (or Engineering) Inven- tion uniting Agriculture and Commerce ; and the other, the Genius of Electricity uniting (b3' the telegraph) the parts of the earth— Kurope, Asia, Africa, America, and Australia. These two panels are reproduced as samples of the treatment on pages 2S and 29. The frieze has been toned, by wax and colour rnl)1.)ed in, to a darkish ivory tint, as the wall below it is panelled in nuiliogan\'. DESIGN FOR STAINED GLASS. jMy first designs for stained giass, I think, were some small panels for a library window in an American house, at Newport, R.I. These were executed b3' Messrs. William Morris and Compan3-, at Merton. The same firm also carried out two designs I made for the doors of the Picture Galler3' at Clare Lawn— single figures, typical of the two sides of Art — Speculum Naturae and Spherre Iniaginationis. A larger work was a three-light window, designed for a Church at Newark, New Jerse3-, and carried out by ]\Iessrs. J. and R. Lamb, of New York. The subject was " St. Paul preaching at Athens," and the figures were on a large scale— about ten or twelve feet high. The next work in glass was a complete set of windows for "The Ark of the Covenant "—the Church of the THE WORK OF WALTER CRANE. '9 Prom SpoiiBer's " Faerie (Jueene." Designed by Walter Crane. I'Liblialied by Mr. Qcorec Allen. t 20 THE EASTER ART ANNUAL. Labour Cartoons. Designed by Walter Crane. Agapc-moiie- at Stamford Ilill. It was a new clmrch, designed and erected by Messrs. Josepli Jlorris and Son| of Reading, llj- designs for the apse window, or rather the three two-light windows forming the apse, contained in tlie centre the symbols — the Lion of the Tribe of Jndah and the Dove. In the window to the left, the sub- ject was the Translation of Enoch ; and in that to the right, the Translation of Elijah. A sketch for the last window is given on page 30. The two-light aisle windows were filled vitli lloral designs, such as the rose, the lily, the vine, the fig, the olive, the iris, and were lighter in tone than those at the cast and ^^■est ends. The large four-light west win- dow had a design of the rising Sun of Righteousness. The iignro of a man was on one side, and of a woman upon the other, adoring ; four angels above carried a scroll with the text, •■ Then .shall the Sun of Righteousness arise with healing in his wings." Smaller (two-light) windows at the ends of the aisles contained figures on the one hand of "Sin and Shame," and on tlie other of "Death and Di.sca.se," which are supposed to be driven away with the shadows of the evil night at the rising of the Sun of Righteousness. The glass for these windows was executed Iiy a new artist, Mr. J. S3ivestcr Sparrow, who shows remarkable feeling for depth aud richness of colour, and has made efl'ective u.se of Messrs. Britton aud Gilson's glass, in- vented by Mr. Prior, with the "antique" ula.ss of Messrs Powell. -\nother large work in glass design now on the point of completion is a five-light perpendicular window with tracery, in which Jlr. Sparrow, as the glass painter, again co-operates with me as the designer and cartoonist. A reproduction of one of the lights is given on page 30, which iua\- give some slight idea of the general style and treatment of the design, though not of the glass it- self; for glass is one of these things which must be actually seen /// ,v//// to be properly judged. The lead line is so important an element in gla.ss design that I feel uo cartoon can be considered really complete without the leads being put in. In fact, I think the design in lead line alone ought to be fairl3- coinplete and agreeable as an arrangement of line even without the colour, and as such it may in plain gla,ss have a separate life, although, of course, the leads and the glass arc reall\- mutually dependent ; and in a fnll}--coloured window one hardly thinks of the one without the other. As to treatment, of course much depends upon general con- ditions, but I think it may be quite possible in designing to go far in a pictorial direction, so long as the resuH is in harmony with the architecture, and appeals jiri- niarily to the e_\-e as a pattern of lead line and colour- a network of jewelled light. TILES AND POTTERY. E\ these directions 1113- work lias been very limited, but in\- first beginnings date some way back to the late sixties, and to a first visit to the Potteries, when I made, Ihnuii^h a friend in Cheshire, the acquaintance of the W udgwouds at Ivtruria, aud painted for them afterwards some fignres of the Seasons and the Ten \'irgins upon vases of their cream-coloured ware. I also designed for them a l^order for a kind of encaustic inla\- t]ie\- had iux cuted. applied to the decoration of a chess-board ; and this wcut with the vases, I think, to the Paris Exhibition of i,S67. About 1S74 or 1S75, I think, I designed some sets of si.x 22 THE EASTER ART ANNUAL. and eight-inch firephice tiles for Messrs. ^law and Co. These, in the first place, consisted of fignres nmch in the style of my nursery books, of such characters as IMistress Mar3', Boy Blue, Bo-Peep, and Tom the Piper's Son. These were etched on copper in outline, and printed and trans- ferred to the tile, and afterwards coloured bv hand. The treatment did not differ much from the treatment of vsiniilar sulijects in the full pages of " The Bab5''s Opera " — in fact, I rather think that the square form, size, and treatment of the six-inch tiles really suggested the adoption of the same size and treatment for the book, which must have been planned very shortlj- afterwards. This affords an ijistance of the suggestive influence one kind of method has upon another. A set of eight-inch tile designs (produced in the same way) of the Seasons of the Year and the Times of Day was more ambitious in aim and classical in treatment. The subjects were connected by a slight repeating design by way of open border above and below, which covered the joints when the tiles were placed one above the other in the jambs of a fireplace. A set of six-inch tiles, representing b}' single figures in circles the Four Elements, was desig'ned for the same firm a little later. These were relieved upon backgrounds of solid colour of the same tint as the outline. Then for the Paris Exhibition of 18S9, I designed a -\-ertical panel and two friezes to be inserted in a set of wall tiles painted with a pattern designed by i\Ir. Lewis F. Day. "Labour" was the theme of these designs — Plougliiug, Sowing, and Reaping. These tiles were pro- duced in lustre ware. For the same firm also I designed a set of vases for lustre ware, giving the sections for the thrower, and painting on the biscuit the designs, which were copied on duplicate vases in lustre. These were exhibited at one of the Arts and Crafts Exhibitions. The reproduc- tion on page 31 gives an idea of the contours of these vases and the general effect of the designs. EASEL PICTURES. IT now onlv remains for me to speak of another class of my work, namely, painting. In this case the last is also the first, as painting was the first craft I attempted, and it is the one I return to after following other kinds of design. I think I mentioned my first ambition was to excel in animal painting, and this led me into the fields to stalk {in a peaceful manner, but requiring fulh' a sportsman's patience) cattle, and sheep, and ponies, whenever I could get a shot at them with my pencil or brush. The site of what is now the artistic suburb of Bedford Park— at one time an open common — was the scene of some of m\" early struggles with Nature on four legs. These legs ma\- be said to have carried me to a patron, and to have been the means of transacting a purchase, as quaint aiul ]jrimiti\-e as it was unexpected. I had sketched a milk- uuin's pon\-— shaggy and wall-e3-ed, I remember— and tlie proprietor came forth to take him b}- the fore-lock 1 (which was ampler than Time's) back from the common to the shafts. He saw the sketch, and said if I would come along- with him he would give me a glass of milk for it. His yard bordered on a part of " the common, aTul the bargain was soon concluded— swallowed, I should say — on lu}" part. I was quite satisfied, as it gave me free entry to the milkman's yard, full of cocks and hens, cows and calves. The li\"c stock included a most attractive black and white " The Meadow" Wall-paper. Dssigned by Walter Crane. By permission of Messrs. Jeffrey & Co. 24 THE EASTER ART ANNUAL. greyhound, and a shag-g-y black poodle. It was like living in George Morland's pictures. I found, later, another attractive resort near \\'orni- wood Scruhbs— before the prison blig-hted it, and when it was innocent of rifle butts and iron railings, an open common with onh- a cattle shelter upon it. This was a little farm where lived a good-natured old couple, who kept dogs, a donkey, a cow, and a horse. They lived in a little pan-tiled Middlesex cottage, with a few fields touching the canal, and kept the shooting-range of a gun-maker, with a rirnning deer in it ; but l.)oth the\- and their farm, shooting range, running deei- and all, have disappeared long ago before the steady uuirch of the jerr^'-builder. The next phase was the de^-elopnient of a taste for landscape, probably fostered by Ruskin's descriptions of Turner, and afterwards b}- the sight of Turner's pictures themselves, then at Marlborough House. Then came the pre-Raphaelite influence, and with these mixed elements one seemed to develop a kind of semi- pastoral, semi-romantic feeling for a combination of figures and landscape, which found favour at the Dudley Gallery in course of time, as alread_\" mentioned. The love of romantic landscape was certainly- fostered b}' a visit to the Peak district of Derbyshire in the sum- mer of 1863, where my friend Wise was sta3-ing". Year after 3-ear from that time it was my painting- g-round. The clear Derwent falling over its boulders, or running into deep brown pools under the wooded banks ; the black crags of the Millstone above the. valley-, and the vista of undulating blue hills and peaks towards Castle- ton ; the larch woods, and open sweeping moorlands, purple and russet with heather ; and the old gre\' stone houses nestling on the hillsides — these impressions can nev^er be effaced. In 1S6S or '69, a drawing of mine was exhibited at the Dudley Gallery, which attracted some attention ; it was ' Ormuzd and Ahrinianes '—an endeavour to suggest the Parsi idea of tlie straggle of the spirits of good and evil through the ages. The design showed two armed knights fighting on horseback, one white and the other black, by the side of a river winding away in long serpentine curves, showing at each bend some typical relic of time in the shape of a temple of some lost faith— here an Egyptian gateway, there a Celtic dolmen, a classic temple and a Gothic cathedral— the whole effect being of a subdued twilight, as of the dawn. Pictures of different motive and sentiment followed landscapes, figures in landscape, and figure sulijects like ■ Pluto's Garden.' From Rome, in .1872, I sent 'A Herald of Spring,' the sketch for which forms one of the plates in this number. It is characteristic of my work of that period, which in- cluded many Roman landscapes. The background of this ])icture, which differs from the sketch, is a faithful view of part of Via Gregoriana, with the church of Trinita di Monti at its head. 'The Arch of Titus,' 'A Capuccini,' and 'A Capri Mother and Child,' were among the pictures of this period— all in water-colour. ' The Death of the Year ' was also one of the subjects ])ainted in Rome— the months following the bier of the dead year; Time, as a priest, reading from a service book, and Dove swinging a censer, being no doubt remi- niscent of what one may have seen in some Roman church. ■With Pipe and Flute,' and ■ Tlie Karth and Spring,' the first a tempera work on a plaster ground, were among the chief of my later contributions to the Dudley; also ■ Winter and Spring,' which reappeared in the design of one of the pages of " The vSirens Three." Another processional picture of a similar kind to 'The Death of the Year,' was painted about this time for ]\Ir. Somerset Beaumont, who must have quite a collection of my earlier pictures. This was ' The' Advent of Spring ' this time a work in oil. :\ figure of Spring is. seen under a canopy or baldaccliina, carried by four youths; her } 1 rriE WORK OF WALTER CRANE. ^5 flowered train of ])ale yellow borne b}' little bo\-s. A crowd of n\-mphs and shepherds precedes and follows her witli ,q-arlands, and with lambs sporting about tlieni. Behind is seen the figiirc of a youth in a steely grcN' cloak, snatching the flowers in the lap of one of the n>-niplis. This was intended to suggest the " KiiiiL;h winds fliat shake tlio Jarlin^' buds of M.i\'." 'Amor vincit Omnia ' was another processional picture painted about 1875 — an allegory on the theme of the surrender of an Amazonian cit}", with a background full of Italian reminiscences, and, no doubt, influenced b}- Spenser's " Faerie Queene." Ever since my early success at the Ro}'al Acadcm_\', in the old days of Trafalgar Square, I regnilarly knocked at the Exhibition doors year after }'ear, but always, save for inic exception, in 1S72, with the same result. Looking down tlie lists, which used to be posted up for the infor- mation of anxious cuqTiirers, under C, it seemed to uie that Crawford. Crampton. Crowley-, and Ci"ossle>', were alwa}-s hung, but— I'm " hanged " if Crane was! However, fortunateh- for me, I had other strings to my bow^ — or other ways of appealing to the public ; and so, after 1S77, with the walls of the Grosvenor open to me in 189S. Hond Street. I ceased from troubling Burling- ton House — which, I dare say. remained quite unconscious of an\" re- lief. It must be said that in Iniilding and promot- ing tlie Grosvenor Gal- lery-, which opened its first exhibition in Ma}-, 1877. SirCoutts Lindsay afforded an ample op- portunity to man\' new or less known artists n ot seen at the Acadeni}', lo show their work fair- 1>" to the public — esj^e- cialh' the work of l^d- ward Burne-Jones, who really (despite his me- morable early work at the Old Society of i'ainters in Water-co- lours) then became known ns a painter for tlie first time to the ge- neral public. His chief works were show n here \ car after year, for ten \carsormore. J. McNeill Whistler, Arthur Le- mon, Alphonse Legros, ]<. Spencer Stanhope, J. ^r. Strudwick, Miss K. rickering (now Mrs. J)e Morgan). Matthew Hale, Jaconil) Hood, W. Pad- gett, J. D. Batten, M. R. Corbet, Prof. C. Costa, the brilliant but short-lived Cecil Law- son (who made his fame there), all were regular supporters of the Gal- lery ; and I was also in- \-ited to contribute, and continued to send ni}- principal works there until 18S8. M}- first and one of my largest pictures at that date had a place in the Gallery the first .season, 1877—' The Renascence of Venus.' This picture was afterwards purchased by Mr. G. F. Watts, who has always shown a most generous api)reciation of my work — an appreciation not likely to be lightly regarded, com- ing from so great an artist. ' The Fate of Persephone ' followed the next 3'car, and 'The Sirens' in 1S79— now in the possession of ;\Ir. Graham Robertson. In 1880, ' Europa ' and 'The Laid- ley Worm' were ni}- subjects ; in 1881, 'Truth and the Traveller,' a tempera picture on canvas, appeared — the others named all being in oil. 'The Roll of Fate.' with the lines from the Rubai\-at of Omar K}iay_\"ani. was exhi- bited in 1S82 : — " Wuuld but somf winged angel, ore too late, Arrest the jvt unfolded Roll of" Fate. And make the .''tern Recorder oihcrwise l''nregister, or quile obliterate. O, luve, could you and I with him conspire, Tij grasp this sorry scheme of things entire, Would not we shatter it to bits, ■\nd then remould it nearer to the heart's dosire." Portions of a painted frieze I had been engaged upon I I 26 THE EASTER ART ANNUAL. during the previous winter in Rome, destiued for a house at Newport, R.I., and illustrating- lyOng-fellow's poem of " The Skeleton in Armour," were shown in 1S83, as well as a water-colour, ' Diana and the Shepherd.' 'The Bridge of L/ife,' which we reproduce as an extra plate, was my picture in 1S84. As far as I remember, ^ the first suggestion came to me in Venice, in looking at % I the slender marble foot-bridges which cross the canals, and the mixed troops of people of all ages, sexes, and aspects, who pass up and down the steps and across them, or stop to gaze at the flickering water and the gliding, noiseless, black gondolas shooting underneath. I worked at this suggestion, and took immense pains with the design, making sketch after sketch, until I had evolved the idea in its present form. On the frame I wrote these verses Wlmt is Lile !' A bridge that ever Bears a throng across a river ; There the laker, here the giver. I.ife beginning and Lifo ending. Life his subst:im:i? ever spending, Time to Life his little lending. What is Life? In its beginning From the staff soc Clotlio spinning Golden threads, and worth the winning. Life with Life, fate-woven ever. Life the web, and Lovu the weaver, Atropos at last doth sever! "VViiat is Life to grief complaining ■ Fortune, Fame, and Love disdaining, Hope, perchance, alone remaining. 'Freedom' was the subject of m\' large picture the following 3'ear, 18S5. In this I developed the idea which formed the motive of a sketch many 3'cars before, which, too, I had incorporated among the page-designs of "The Sirens Three." The figure of a ^■outh, ncarl\" nude, but wearing the "bonnet roug"e," lies a prisoner between two guards; one, a feudal king in armour, with a spear ; the other, a priest, with a crozier and a book. The prisoner, looking towards the light, perceives the winged figure of " Free- dom," like a vision, breaking into the prison-house with the sunshine of Spring, while the sinister guards slum- ber, and his chains fall from his limbs. 'Pandora,' a water-colour, was also exhibited at the same time at the Grosvenor Gallery. I omitted to mention some works painted b\' me a:ul exhibited at the Royal Institute of Fainters in Water- Colours, and the Institute of Painters in Oil, while I was a member of those bodies. The principal water-colours were 'Spring,' 'Night,' and ' Morn.' ' Pan - Pipes ' (founded on the frontispiece to ni}- iDook of the same title) ;ind 'A Diver,' a nude figure of a man, seen under water, ] (hinging into blue and green depths, the air-bubbles rushing upwards in a cloud. Tliis work afterwards ob- tained a silver medal at the Paris F_;xliilDition of iS8g (!). At the Institute of Painters in Oil, in 1SS3, I had another picture of a bather — a m'mph h\ a forest stream and a deer coming to drink, — and ' A London Garden,' and in 1S84, ' La Belle Dame Sans Merci,' a subject I had tried in very early daj's — the knight meeting the witch lady in the meads. An outcome of my Institute connection was also a water-colour composition in three compartments t3'pical of the three periods of Italian Art — Venice. Florence, and Rome ; being the pictorial rendering of a similar group in a masque of painters or series of tableaux given at the Institute under the presidency of Sir James D. Linton in 1885. This was at the Grosvenor in 1886. In 18S7 I sent 'The Chariots of the Hours,' fairl_\- well known now, I think, by reproductions, and now in the collection of Herr Ernst Seeger, of Berlin, who also pos- sesses manj' of the pictures before mentioned. It was, however, badlj' hung.* l\Iy work seemed, after many 3-ears, to fall out of favour with Sir Coutts Liudsaj-. The next j'ear, 188S, saw the opening of the New ^ It is curious that some years afterwards this picture, being exhibited at the Munich Glass Palace, was awarded a Gold Medal. 28 THE EASTER ART ANNUAL. Gal]er\- by the former Directors of the GrosNcnor, and this appeared to mean, practically, the transference of the principal Grosvenor exhibitors and snpporters to the new- venture in Regent vStreet. I fortjet if I had an}- work there the first year, but either then or the next I sent a drawinj^; called ' A Water-Lilj' ' — a single figure in dia])ha- nous white draper^' among reeds and water. Being elected an Associate of the Old Water-Colour Society about this time, I think that gallery absorbed such time and energy as I had for easel work, which was not very much in the years iS8S, iSSg and 1S90, parth- owing to other kinds of work, and partly owing to ww connection with the Art-workers' Guild and the Arts and Crafts Exhibition .Society, over both of which bodies at that time I was chosen to preside; and, of course, in the early stages of starting a society like tlie latter, a great deal of time and energy'' was necessarih- consumed hy those most closely concerned with its organization. Decoration and book-work, already spoken of, filled up much time also. 'Sunrise,' ' Flora,' and ' Pegasus,' were \\\y principal drawings of this period, though I generally contributed a number of landscape studies to the Gallery in Pall Mall East. During my visit to America, beyond the book-work and the frieze at Newport, R.I.. before spoken of, ni\- prin- cipal works in painting and decoration had been two large mural pictures for the Women's Christian Tem- perance Building, in Chicago, representing Temperance and Purity, and Justice and Mercy, each by female figures with emblems ; also some designs for mosaic panels which. I undertook for ]Mr. William Pretynian, an E^nglish decorative artist living at Chicago, and n\y good friend and kind host. In speaking of mosaic desig-n — that is to say of tesserated cartoons to be worked in mosaic — perhaps I ma}- mention here that when Professor Aitehison was building the late Lord Leigliton's Arab Hall to enshrine his wonderful Persian tiles, I was apitlied to for designs for the mosaic frieze to surmount them, and prepared several cartoons for the different portions — antelopes, palm trees, sirens, ships, peacocks, sphinxes, cockatoos, and a snake and eagle in combat formed the principal ornamental units in this frieze, which was executed partly by Messrs. Salviati, Burke & Co., and partly by the Murano Company, I think, and all the panels were done at Venice. Other designs for mosaic were some panels for another house of Mr. Aitcliison's design, that built for Mr. Stewart Hodgson, in South Andle}- Street —designs of single figures with attributes, representing Earth, Air, and Fire, and also stags drinking, and vSatyrs and a vine. On WW return from America, inspired, no doulit, liv the close companionship of the ocean, both on the Nan- tucket coast and on the voyage, I commenced my picture, ' Neptune's Horses.' exhibited at the New Gallery in 1^93, together with a water-colour— ' A Fairy-Ring.' I had shown a first sketch for the "Neptune's Horses' in the pre\'ious Winter Exhibition of the Old Water-Colonr Society, and this is reproduced here as an extra coloured plate. B}- a curious coincidence Islr. Watts also exhibited a picture at the New Gallery at the same time as mine, entitled ' vSea Horses ' ; but though the main idea, of the foam-crests forming white horses with tossing manes, was the same. Mr. Watts' picture showed a wave breaking at sea, while mine depicted waves breaking upon a shore —though my first sketch expresses the former idea. The same season at the \^'ater•Colour I had ' A Masque of the Five Senses ' and ' Poppies and Corn.' ' The Swan Maidens' appeared at the New Gallery the next 3-ear (1S94) with ' In the Clouds ' and ' Lilies ' ; ' luisigns of Spring' being my chief water-colour work. 'England's Emblem,' now in Berlin, followed at the New Galler\' in 1S95— Saint George, in armour on a white horse with red housings, charging at the Dragon, which lies upon the desolated land, breathing fire and vapour of smoke. In the background a river winds to the sea past a neglected plough left in the fui*row. and Ijevond are seen the pale cliffs of Albion ; inland, dark against a lurid sunset, are suggested the gaunt forms of factory chiiniicvs. ' Loheiig-vin ' appeared the .same year at the Water Colour. The motive was suggested hy hearing the opera at Bayreutb. •The Rainbow and the Wave' was my next picture, and offers a very different conception, both in treatment and sentiment. It was an attempt to embody another impression or vision of the sea and the forces of nature in elemental play. This picture may fairly be taken to represent my later feeling in painting ; ' The Bridge of Life' stands for the Italianised allegorical feeling of the middle period ; while ' The Herald of Spring' rciiresents my earlier time. But few more pictures remain to be recorded, namel>'. in water-colour, 'Britomart' and 'Summer' ; and in oil, 'Britannia's Vision '—my New Gallery picture this year. It is an attempt to present in allegorical form the outlook of the country, political, economic, and social, in the year 1S97, conceived as a pictorial scheme. While so many can discern in paint the face of the sky and earth, may it not be possible also for others to discern the signs of the times ? The picture seems to have proved more than usually irritating to the professional newspaper critics, with whom, indeed, from the first my pictures (in Ivngland at least) have found but little favour. At the Water-Colour, ' The Dawn ' and ' The West \Vind ' com- plete my list, except a few studies of landscape, for which I have never lost my love, and which has been my chief school of sentiment and colour. As to the general theory of Art which has influenced my practice, or perhaps has been evolved from it. if one mav attempt to put it into words, it is something like this : Art of any kind is a means of expression— at its best, the highest and most beautiful means. It is a language, in short, of the mo.st delicate and sympathetic kind, having man}- varieties or, as we might say, dialects. But these varieties seem to fall into two main di\-isions, which have their different exponents. On the one hand there is the art which springs directly out of nature— the record of impressions, or a rendering of the forms, facts, and accidents of the external world- more or less imitative in aim. On the other there is the art which is indirectly inlluenced by nature— the record or re-creation of ideas, which selects or invents only such forms as may express a preconceived idea, as a poet rises words— more or less typical, symbolical and decorative in aim. The artistic imagination and .selective individual feeling may work in either kind, and the two kinds may occa- sionalh^ overlap, and even be practised as distinct by the same artist ; but, broadly speaking, the first is the record mainly of the ou/er vision ; the second is mainly the record of the in hit visit)//. The first obvioufilj- depends much upon fidelity to the forms and aspects of nature ; the second but little. The artist ma}- draw entirely from memory, or invent freely as he goes on, and natufe may become quite transfigured in his hands. At all events I feel convinced that in all designs of a decorative character, an artist works freest and best without any direct reference to nature, and should have learned the forms he makes use of by heart. We draw or paint, perhaps, as much influenced by what we know and feel as by what we actually see ; and although between the artist who always works in the presence of nature — whose themes and motives are always taken directlj' from what he sees— and the artist who works from the result of past impressions, or by a kind of selective memory and creative imagination, there would appear to be a g-reat gulf, the difference might sometimes be reduced to one of degree. The mind of the first kind would exercise its selective artistic function in the treatment of the work as it progressed, leaving out no essentials, and subordinating secondary- facts to the main or central facts, which form the means for the expression of the motive of the work. His artistic powers might be concentrated upon the aim of im- pressing- upon the mind, through the vision, the beauty, the mystery, the suggest! veness of some effect of light 3° THE EASTER ART ANNUAL. "The Traiiala-7, tion of Elijah." A Stained eiass Window at the Churoli of "The Ark of the Covenant," Stamford Hill Designed by Walter Crane, actually observed— the g^olden dream of a summer after- noon— the stormy light of an autumn sunset — a city wrapped in the grey mists of morning- or evening, when everything is lost in mystery, illumined here and there by a speck of light like the sparkle of a jewel amid the folds of diaphanous drapery ; such effects as these could not be grasped and fixed at once, in all their entirety, as they appear in nature. The artist, however much of a realist, is driven to invent some species of short-hand —some method of representing to the vision such scenes. Each has to be passed through or absorbed by his mind and imagination ; and it is upon this process of absorption— a kind of artistic summing-up of the essen- tial facts or features necessary to dwell upon— that tlie artistic value of the work will ultimately depend. The power of the pictorial artist comes out in this direction. I should be inclined to extend the meaning of the term J>orfj-aif— to make it more comprehensive, so as to cover, or designate, in fact, the aim of the naturalist, or pic- torial artist, and to differentiate him from the ideal, inventive, or decorative artist. Creative power nia3' be important to the former however, just as naturalism may be important to the latter, but both would come out or be exercised in a different way and by different methods of expression. In a really satisfying portrait of a person, we ask for more than a fairly accurate map of the features; we expect more. We feel there is often all the difference in the world between portraits of the same person by different hands. One, perhaps, might be more correctly described as a landscape— or a landscape treatment of a personality; another asa purely decorative arrangement; in a third, the subject may appear merely as a kind of peg upon which to hang various theories of painting. At last, perhaps, we find the character we know in a picture, it may be uniting or combining some of the same qualities— the face instinct with life and thought —a living presentment of a human being — a portrait— a portrayal in every sense of the word. Kxamination and com- parison between such a work and others less convincing only reveal greater subtlety of draughtsmanship, perhaps, or a lighter hand iu painting, a more delicate and a more com- plete perception. The painter's language— his own particular kind of convention — appears to be in more complete relation to his conception of liis subject, his mental and manual power are both greater — he is a master, that is all we can say. In what we call an ufca/ work, we may be moved by qualities quite remote from an 3- skilful representation of nature or natural effects. A representation it will be, but it is a representation not of a concentration of the mind upon the translation of certain natural aspects or features— the sum of certain selected obser- vations—but it will be the re- sult of a concentration of the mind upon the translation of its own inner vision — the sum not only of certain selected ob- servations, but of the power of memory and imagination, stimulated, it may be, and en- riched by all sorts of direct impressions from nature, but rather used as words and sen- tences to express certain har- monies of line, or form, or co- lour, consciously created, and not necessarily founded upon some motive directly observed in nature. The ideal artist ma3^ of course, derive as much sugges- tion from the external aspects of nature and the drama of every -day life he observes around him as the naturalist, but he uses his material in a different wa3'. We might be interested in a naturalistic picture of navvies reposing upon a railwa}' bank in their dinner-hour. There would be plenty of room 'for artistic treatment— character, lighting, tone, and colour. We might also be interested in a picture of a sleeping Kndymion, full of mystery and poetic suggestion— and THE ]VORK OF WALTER CRANE. 31 Lustre Ware Pottery. Deaieiied by Walter Crane. Messt B. M.-IW & Co., Ltd., Bcii- tliall Works, yet it is quite possible the painter of the latter might have derived his suggestion from a navvy reclining upon a railway bank. The naturalist is content to watch the eddies, the surface lights, the lucent shadows, the bubbles of the stream. The idealist cannot help seeing nereids therein. The decorative designer, again, may reh' almost en- tirely upon certain rhythmical arrangements of line, certain harmonious combinations of form, which, though they may correspond to certain lines of construction or movement in nature, may not really suggest or represent any natural organic form at all. He may, again, make use of certain natural forms, such as birds or flowers, in his scheme of line as his notes of form. Design of this sort is of the nature of a kind of music appealing to the eye, and relying upon the association of ideas of linear beauty and harmonious suggestion. The \-arii)ns technical conditions and limitations be- longing to the \-arious handicrafts, or the necessities of manufacture— to which the designer has to adapt his conceptions, his schemes of surface pattern, his linear compositions— these (conditions and limitations) reallv form the i n- struments upon which he pla3-s. Tlie true miisi- cian does not try (or want) to make tlic \-iolin imitate the harp, or tlic violoncello, or any other instru- ment ; he desires as an artist to give each instru- ment its own characteristic expression, ami seeks, whatever his instrument, to in- terpret the music in strict accordance with its nature and construction. In the matter, too, of the ver}' elements of design or linear composition from one point of view of the con.struction of pattern, there are certain fundamental geometric bases, not only forming strictly logical patterns in themselves, but also furnishing a consistent structure or kind of linear skeleton or scaffolding upon wliich, or by means of which, ma\- be built and extended the varied and delicate fabric of sur- face design, which ma\- either (for primitive purposes and simpler jn'ocesses), severely emphasize the rigid geometric logic of the linear plan — square, or circular, or diagonal as the case may be— or disguise it almost entirely by a redundant superstructure of floral form. The limits of individual choice, taste, or invention, within this realm of design ba\-c never \X't been discovcrcil : altliongh, no doubt, as in tlie natural world , tyjies and species nuiy be identified, and there appeal's to Ije an irresistible law of evolution, not only in the field of design regarded historically, but also as regards each indi^-idual or local development. Under the operation of such a law we ma}- observe how generally any kind of design- -sa\". in i)otter\-, textiles, or metal work — begins at first se-\'ereh' restricted, simple, and logical. In early art of all races apparently' the beginnings of pattern consist in the rejjetition of certain constructive lines or of s_\'mbolic units. Horizontal lines emphasizing the shoulders or rims of vessels, enclosing the re- peated form of the sun's circle ; zigzag and mean- dering lines for water ; sharp, in- dented points fire. The fret and the serpen ti n e Hues almost seem to divide the pri- mitive pattern world between them, and long after they were actually visible as patterns by themselves, they controlled the general disposition and con- tours of the ornamental elements used, for instance, in friezes and borders of all kinds, and of different periods of art. If we follow the evolution of ornament, sav, in architecturalenrichment, from the severe Norman to the later phases of Gothic, we observe how the recurring points of the Tiloa. Deaie'lcd by Walter Crane. Bypermiaeioiic Messrs. Maw & Co.. Ltd., Beu- Ihall Works, 3' THE EASTER ART ANXUAL. Portrait of Walter Crane, ry G. F. Watts zigzag border form suflicient ajid pleasant linear con- trast and relief to the massive simplicity and dignity of the round arch and the plain wall. The more complex dog-tooth serves the same ofiice to the Earh- Pointed, and seems a lineal descendant of the zigzag.- Then, with the use of more elaborate and deeply- concave mouldings, the desire to enrich their hollows and get an extra sparkle and richness of light and shadow, and counteracting lines and masses against the recurring sweep of the mouldings, knot, and flower, and leaf, curling under and over in serpentine lines, or cut into isolated units, appear. Flo- riated crockets spring from the sides of gables, which break into the full blossom of the croc- ket at their crests. Then to control the exuberance of the carved stone-work , the architect again uses severe verti- cals and horizontals; or, rather, but- tresses and parapets being necessar}' to meet the altered demands of struc- ture in large win- dows and low-pitch- ed roofs, artistic use is made of them. So the eye is graduall}' led back, and after the luxuriant inven- tion and intricate carving of flamboyant work, is prc- l)ared to welcome the severe lines of column and lintel, of frieze and pediment of classical tradition, with its more restricted range of subsidiary ornament, and its main decorative interest centred upon the sculpture of the human form. Something analogous to these changes may take place in the work of an individual artist (and ever\' artist \\-ould do well to remember the relation of all the arts to architecture). While he may be only conscious of striving after his own particular artistic ideal of tech- nical perfection or harmojiions creation, he may realh' be under the sway of an irresistible law of evolution, under which his temperament, acted on b}" his surround- ings, has its seed and spring and flowering time, like any fl owe r of th e field. However, appa- rently- free and in- dividual—and let us h}- all means have as much individual freedom as possible —we are still but units in a compre- heusi\'c scheme. We are related to our contemporaries — to our age — to past ages — to our ininie- diate predecessors, as our successors will be related to us. Time alone may put that relation in its true light, as it will determine the ])osition of every artist ; but I think we ought to be none the worse artists for realising these things, and possibly better men and wo- men ; and such a ]>oiut of view ought certainl_\" to help us in clearing our own path and de- termining our di- rection. From the great universal storehouse every artist after his kind quarries out his material. Years of work and experiment teach him its properties, and give him facility in dealing with it, until he finally forms from it the speech and language which seems to him best fitted to embody and convey to the world what he has in his eye and mind. 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