See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

WALTER See also:

• CRANE (in Dutch, Kraan; O. Ger. Kraen; cognate, as also the Lat. grus, and consequently the Fr. grue and Span. grulla, with the Gr. dpavos)
• CRANE, STEPHEN (1870-1900)
• WALTER CRANE (1845– )
• CRANE, WILLIAM HENRY (1845– )

CRANE (1845– )  , See also:

• ENGLISH

English artist, second son of See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• CRANE (in Dutch, Kraan; O. Ger. Kraen; cognate, as also the Lat. grus, and consequently the Fr. grue and Span. grulla, with the Gr. dpavos)
• CRANE, STEPHEN (1870-1900)
• CRANE, WALTER (1845– )
• CRANE, WILLIAM HENRY (1845– )

Crane, portrait painter and miniaturist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool on the 15th of See also:

• AUGUST (originally Sextilis)

August 1845 . The See also:

• FAMILY

family soon removed to See also:

• TORQUAY

Torquay, where the boy gained his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• ARTISTIC

artistic impressions, and, when he was twelve years old, to See also:

• LONDON

London . He early came under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of the Pre-Raphaelites, and was a diligent student of See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin . A set of coloured See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page designs to illustrate See also:

• TENNYSON, ALFRED TENNYSON

Tennyson's " See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady of Shalott " gained the approval of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• LINTON, ELIZA LYNN (1822-1898)
• LINTON, WILLIAM JAMES (1812-1897)

Linton, the See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-engraver, to whom See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter Crane was apprenticed for three years (1859-1862) . As a wood-engraver he had abundant opportunity for the See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute study of the contemporary artists whose See also:

• WORK

work passed through his hands, of See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• ROSSETTI, DANTE GABRIEL (1828-1882)

Rossetti, See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, See also:

• TENNIEL, SIR JOHN (182o- )

Tenniel and F . See also:

• SANDYS, FREDERICK (1832-1904)
• SANDYS, GEORGE (1578-1644)
• SANDYS, SIR EDWIN (1561-1629)

Sandys, and of the masters of the See also:

• ITALIAN

Italian See also:

• RENAISSANCE, THE

Renaissance, but he was more influenced by the See also:

• ELGIN

Elgin See also:

• MARBLES

marbles in the See also:

• BRITISH

British Museum . A further and important See also:

• ELEMENT (Lat. elementum)

element in the development of his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, was the study of See also:

• JAPANESE

Japanese See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour-prints, the methods of which he imitated in a See also:

• SERIES (a Latin word from serere, to join)

series of See also:

• TOY
• TOY, CRAWFORD HOWELL (1836– )

toy-books, which started a new See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion . In 1862 a picture of his, " The Lady of Shalott," was exhibited at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, but the Academy steadily refused his maturer work; and after the opening of the Grosvenor See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery in 1877 he ceased to send pictures to See also:

• BURLINGTON

Burlington See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House . In 1864 he began to illustrate for Mr See also:

• EDMUND
• EDMUND, or EADMUND (c. 980-1016)
• EDMUND, SAINT [EDMUND RICE] (d. 1240)

Edmund See also:

• EVANS, CHRISTMAS (1766-1838)
• EVANS, EVAN HERBER (1836-1896)
• EVANS, OLIVER (1755–1819)
• EVANS, SIR GEORGE DE LACY (1787–1870)
• EVANS, SIR JOHN (1823-1908)

Evans, the colour printer, a series of sixpenny toy-books of nursery rhymes, displaying admirable See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy and beauty of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, though he was limited to the use of three See also:

• COLOURS, MILITARY

colours . He was allowed more freedom in a delightful series begun in 1873, The See also:

• FROG

Frog See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince, &c., which showed markedly the influence of Japanese See also:

• ART

art, and of a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long visit to See also:

• ITALY
• ITALY (Italia)

Italy following on his See also:

• MARRIAGE

marriage in 1871 . The Baby's See also:

• OPERA (Italian for " work ")

Opera was a See also:

• BOOK

book of English nursery songs planned in 1877 with Mr Evans, and a third series of See also:

• CHILDREN, LAW RELATING TO

children's books with the collective See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title, A See also:

• ROMANCE

Romance of the Three R's, provided a See also:

• REGULAR

regular course of instruction in art for the nursery . In his early " Lady of Shalott " the artist had shown his preoccupation with unity of design in book See also:

• ILLUSTRATION

illustration by See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing in the words of the poem himself, in the view that this See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union of the calligrapher's and the decorator's art was one See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of the beauty of the old illuminated books .

He followed the same course in The First of May: A See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

Fairy Masque by his friend See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John R . See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

Wise, See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text and decoration being in this See also:

• CASE
• CASE, JOHN (d. 1600)

case reproduced by photogravure . The " See also:

• GOOSE (a common Teut. word, O. Eng. gOs, pl. ges, Ger. Gans, O. Norse gas, from Aryan root, ghans, whence Sans. hansa, Lat. anser (for hanser)
• GOOSE (GAME OF)

Goose Girl " illustration taken from his beautiful See also:

• HOUSEHOLD, ROYAL

Household Stories from See also:

• GRIMM, FRIEDRICH MELCHIOR, I
• GRIMM, JACOB LUDWIG CARL (1785-1863)
• GRIMM, WILHELM CARL (1786-1859)

Grimm (1882) was reproduced in See also:

• TAPESTRY

tapestry by William See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris, and is now in the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington Museum . See also:

• FLORA

Flora's Feast, A Masque of See also:

• FLOWERS, ARTIFICIAL

Flowers had lithographic reproductions of Mr Crane's See also:

• LINE

line drawings washed in with See also:

• WATER

water colour; he also decorated in colour The Wonder Book of Nathaniel See also:

• HAWTHORNE, NATHANIEL (1804-1864)

Hawthorne, and See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret Deland's Old See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden; in 1894 he collaborated with William Morris in the page decoration of The See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

Story of the Glittering See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

Plain, published at the Kelmscott See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press, which was executed in the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of 16th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century Italian and See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German woodcuts; but in purely decorative See also:

• INTEREST

interest the finest of his See also:

• WORKS

works in book illustration is See also:

• SPENSER, EDMUND (c. 1552-1599)
• SPENSER, JOHN (1559-1614)

Spenser's Faerie Queene (12 pts., 1894–1896) and the Shepheard's See also:

• CALENDAR

Calendar . The poems which See also:

• FORM (Lat. forma)

form the text of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen Summer (1891), Renascence (1891), and The See also:

• SIRENS (Gr. Metpi7ves)

Sirens Three (1886) are by the artist himself . In the early 'eighties under Morris's influence he was closely associated with the Socialist See also:

• MOVEMENT

movement . He did as much as Morris himself to bring art into the daily See also:

• LIFE

life of all classes . With this See also:

• OBJECT

object in view he devoted much See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to designs for textile stuffs, for See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall-papers, and to house decoration; but he also used his art for the See also:

• DIRECT

direct See also:

• ADVANCEMENT

advancement of the Socialist cause . For a long See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he provided the weekly cartoons for the Socialist See also:

• ORGANS

organs, See also:

• JUSTICE (Lat. justitia)

Justice and The Commonweal . Many of these were collected as Cartoons for the Cause . He devoted much time and See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy to the work of the Art Workers' Guild, and to the Arts and Crafts See also:

• EXHIBITION

Exhibition Society, founded by him in 1888 . His own easel pictures, chiefly allegorical in subject, among them " The See also:

• BRIDGE

Bridge of Life " (1884) and " The Mower " (1891), were exhibited regularly at the Grosvenor Gallery and later at the New Gallery .

" See also:

• NEPTUNE
• NEPTUNE (Lat. NEPTUNUS)

Neptune's Horses," which, with many other of Mr Crane's pictures, came into the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of Herr See also:

• ERNST, HEINRICH WILHELM (1814–1865)

Ernst Seeger of See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, was exhibited at the New Gallery in 1893, and with it may be classed his " The See also:

• RAINBOW

Rainbow and the See also:

• WAVE

Wave." His varied work includes examples of See also:

• PLASTER

plaster See also:

• RELIEF

relief, tiles, stained See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass, pottery, wall-See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper and textile designs, in all of which he applied the principle that in purely decorative design " the artist works freest and best without direct reference to nature, and should have learned the forms he makes use of by See also:

• HEART
• HEART, LUNG

heart." An exhibition of his work of different kinds was held at the See also:

• FINE

Fine Art Society's galleries in See also:

• BOND
• BOND, SIR EDWARD AUGUSTUS (1815-1898)

Bond See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street in 1891, and taken over to the See also:

• UNITED

United States in the same See also:

• YEAR

year by the artist himself . It was afterwards exhibited in the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief German, See also:

• AUSTRIAN

Austrian and Scandinavian towns, arousing See also:

• GREAT

great interest throughout the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent . Mr Crane became an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate of the Water Colour Society in 1888; he was an examiner of the See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science and art See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department at South Kensington; director of design at the See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester Municipal school (1894); art director of See also:

• READING

Reading See also:

• COLLEGE (Collegium)

College (1896);and in 1898 for a See also:

• SHORT, FRANCIS JOB (1857– )

short time See also:

• PRINCIPAL

principal of the Royal College of Art . His lectures at Manchester were published with illustrated drawings as The Bases of Design (1898) and Line and Form (1900) . The Decorative Illustration of Books, Old and New (2nd ed., London and New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, 1900) is a further contribution to theory . A well-known portrait of Mr Crane by G . F . See also:

• WATTS, ALARIC ALEXANDER (1797-1864)
• WATTS, GEORGE FREDERICK (1817-1904)
• WATTS, ISAAC (1674-1748)

Watts, R.A., was exhibited at the New Gallery in 1893 . There is a comprehensive and sumptuously illustrated book on The Art of Walter Crane, by P . G . Konody; a monograph (1902) by See also:

• OTTO

Otto von Schleinitz in the Kiinstler Monographien series (See also:

• BIELEFELD

Bielefeld and See also:

• LEIPZIG

Leipzig) ; and an See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of himself by the artist in the See also:

• EASTER

Easter number of 1898 of the Art See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

Journal .