| PAGE | |
| OF THE ARTS AND CRAFTS MOVEMENT: ITS GENERAL TENDENCY AND POSSIBLE OUTCOME | [1] |
| OF THE TEACHING OF ART | [35] |
| OF METHODS OF ART TEACHING | [58] |
| NOTE ON TOLSTOI’S “WHAT IS ART?” | [69] |
| OF THE INFLUENCE OF MODERN SOCIAL AND ECONOMIC CONDITIONS ON THE SENSE OF BEAUTY | [76] |
| OF THE SOCIAL AND ETHICAL BEARINGS OF ART | [88] |
| OF ORNAMENT AND ITS MEANING | [102] |
| THOUGHTS ON HOUSE-DECORATION | [110] |
| OF THE PROGRESS OF TASTE IN DRESS IN RELATION TO ART EDUCATION | [171] |
| OF TEMPORARY STREET DECORATIONS | [192] |
| OF THE TREATMENT OF ANIMAL FORMS IN DECORATION AND HERALDRY | [203] |
| OF THE DESIGNING OF BOOK-COVERS | [225] |
| OF THE USE OF GILDING IN DECORATION | [237] |
| OF RAISED WORK IN GESSO | [247] |
| THE RELATION OF THE EASEL PICTURE TO DECORATIVE ART | [265] |
| A GREAT ARTIST IN A LITERARY SEARCHLIGHT | [273] |
| INDEX | [283] |
LIST OF ILLUSTRATIONS
| PAGE | |
| Page from Blake’s “Songs of Experience” | [5] |
| Page from Blake’s “Songs of Innocence” | [6] |
| Wood engravings by Edward Calvert | [7], [8] |
| Illustrations to Tennyson: | |
| The Ballad of Oriana, by Holman Hunt | [9] |
| The Palace of Art, by D. G. Rossetti | [10] |
| The Bride (from “The Talking Oak”), by Sir J. E. Millais | [11] |
| Manoli, by Frederick Sandys | [13] |
| Royal College of Art, Students’ Designs: | |
| Figure Composition, Frederigo Barbarossa, by Lancelot Crane | [37] |
| Time Studies, by H. Parr | [38], [39] |
| Time Studies of Figures in Action | [41] |
| Design and Plan of a Domed Church, by A. E. Martin | [42] |
| Design for Tapestry, by E. W. Tristram | [43] |
| Design for Embroidery, by Miss E. M. Dunkley | [45] |
| Museum Studies in Embroidery, by Miss E. M. Dunkley | [46] |
| Sheet of Heraldic Studies, by Miss C. M. Lacey | [47] |
| Studies in Counterchange, by W. G. Spooner | [49] |
| Studies of Scroll Forms, by W. G. Spooner | [51] |
| Studies of Plant Forms, by W. G. Spooner | [53] |
| Pen Drawings, by H. A. Rigby | [55], [57] |
| Cabinet, designed and decorated in Gesso, by J. R. Shea | [59] |
| Group of Pottery, designed and executed by the Students | [60] |
| Wood Carving, by J. R. Shea | [61] |
| Stained Glass Panel, designed and executed by A. Kidd. | [62] |
| Frieze, by James A. Stevenson. | [63] |
| Page of Text, written by J. P. Bland | [65] |
| Panel by Vincent Hill | [67] |
| Wentworth Street, Whitechapel | [79] |
| Egyptian Hieroglyphics as a Wall Decoration (Temple of Seti, Abydos) | [89] |
| Greek Cylix (Peleus and Thetis) | [105] |
| Sketch for Collective Dwelling, by Lionel F. Crane | [116] |
| Plan of Collective Dwelling, by Lionel F. Crane | [116] |
| Frescoes by Ford Madox Brown in the Town Hall, Manchester | [118], [119] |
| View in Bournville | [123] |
| Cottages at Bournville, designed by Alex. W. Harvey | [123] |
| Interior, 1a, Holland Park, designed by Philip Webb | [131] |
| Ranworth Rood Screen, Norfolk (from Drawings by W. T. Cleobury) | [133], [134], [135], [137], [138], [139], [141], [143] |
| Lucas van Leyden, “The Annunciation” | [145] |
| Carpaccio, “The Dream of St. Ursula” | [147] |
| Cottage in the Garden City, Letchworth, Herts, designed by Lionel F. Crane | [149], [150], [151] |
| Stoneywell Cottage, designed by Ernest W. Gimson | [153], [155] |
| Old English Farmhouse Interior (from a Sketch by Walter Crane) | [157] |
| Combe Bank, Sevenoaks, the Saloon, decorated by Walter Crane | [159] |
| Printed Cretonne Hangings, designed by Walter Crane | [160], [161] |
| Wall-papers, designed by Walter Crane | [163], [164], [165], [167], [168], [169] |
| Greek Drapery (Temple of Nike Apteros, Athens) | [173] |
| Types of Artistic Dress | [177] |
| Types of Children’s Dress | [179] |
| Types of Working Dress | [181] |
| Hungarian Peasant Costumes | [182], [183] |
| A Contrast. Modern and Mediaeval Simplicity | [187] |
| Decoration of Westminster Bridge, by the Students of the Royal College of Art (from a Coloured Drawing by G. E. Kruger) | [195] |
| Suggestion for a Temporary Gatehouse at Temple Bar, by Walter Crane | [197] |
| Temporary Street Decoration | [199], [201] |
| Royal Mantle from the Treasury of Bamberg | [205] |
| Chasuble from the Cathedral of Anagni | [206] |
| Sicilian Silk Patterns (XIVth century) | [207], [208], [209], [210], [211], [212], [213], [214] |
| Embroidered Tabard in the Archaeological Museum at Ghent | [215] |
| Details from the Embroidered Tabard | [216], [217], [218] |
| Robe of Richard II (from the picture at Wilton House) | [219] |
| The Lions of England, designed by Walter Crane | [220] |
| Heraldic Lion, designed by Walter Crane | [221] |
| The Lions of England (from the Tomb of William de Valence, Earl of Pembroke, Westminster Abbey) | [222] |
| Equestrian Figure with Heraldic Trappings (from the Tomb of Edmund Crouchback, Earl of Lancaster, Westminster Abbey) | [223] |
| Binding in black morocco, with Medallions and Coat of Arms, by Thomas Berthelet | [227] |
| Binding in black morocco, with Arms of Edward VI, by Thomas Berthelet | [229] |
| Binding in stamped calf, with emblematical designs | [231] |
| Binding of oak boards covered with stamped calf, by John Reynes | [233] |
| Binding in brown calf, inlaid, by the Wotton Binder | [235] |
| Appartamenti Borgia, Vatican, showing Pinturicchio’s “Salutation,” etc. | [238] |
| Detail from Pinturicchio’s “Salutation,” with enrichments in Gesso | [239] |
| Palermo, Cappella Reale (from a Water-colour Sketch by Walter Crane) | [241] |
| The Double Cube Room, Wilton House | [243], [245] |
| Method of Working with the Brush in Gesso | [249] |
| Filling for Picture Frame in Gesso Duro, designed by Walter Crane | [250] |
| Design for a Bell-pull, modelled in Gesso, by Walter Crane | [251] |
| Gesso Panel, design for the Art Workers’ Guild, by Walter Crane | [253] |
| The Dance (Frieze Panel in Gesso), designed by Walter Crane | [254] |
| Picture Frame in Oak with Gesso filling, designed by Walter Crane | [255] |
| Treatment of Form in Gesso Decoration, by Walter Crane | [256] |
| System of Modelling with the Brush in Gesso | [257] |
| Gesso Decoration at 1a, Holland Park, by Walter Crane, the woodwork by Philip Webb | [258], [259], [260], [261] |
| Panel in Gesso, tinted with lacquers and lustre paint, designed by Walter Crane | [262] |
| Panel in Gesso, tinted with lacquer, designed by Walter Crane | [263] |
| Pictorial Decoration (Ducal Palace, Venice) | [271] |
| “Love and Death,” by G. F. Watts, R.A. | [275] |
| “Sir Galahad,” by G. F. Watts, R.A. | [277] |
| “Hope,” by G. F. Watts, R.A. | [279] |
IDEALS IN ART
OF THE ARTS AND CRAFTS MOVEMENT: ITS GENERAL TENDENCY AND POSSIBLE OUTCOME
It seems a strange thing that the last quarter of the nineteenth—or what I was going to call our machine-made—century should be characterized by a revival of the handicrafts; yet of the reality of that revival there can now be no manner of doubt, from whatever point we date its beginnings, or to whomsoever we may trace its initiation.
Indeed, it seems to me that the more we consider the characteristics of different epochs in the history of art, or of the world, the less we are able to isolate them, or to deal with them as phenomena by themselves, so related they seem to what has gone before them, and to what succeeds them, just as are the personalities associated with them; and I do not think this movement of ours will prove any exception to this rule.
Standing as we do on the threshold of a new century—which so often means a new epoch in history, if not in art—it may, perhaps, be allowable to look back a bit, as well as forward, in attempting a general survey of the movement. Like a traveller who has reached a certain stage of his journey, we look back over the region traversed, losing sight, in such a wide prospect, and in the mists of such a far distance, of many turns in the road, and places by the way, which at one time seemed important, and only noting here and there certain significant landmarks which declare the way by which we have come.