Style of Art Focused on Everyday Life England 19th C

Victorian Fine art
Architecture, Arts and Crafts during the reign of Queen Victoria.
Principal A-Z Index

Photograph of Queen Victoria
and Prince Albert (1861)
Victoria & Albert Museum, London.

Particular taken from the masterpiece
Daughters of Edward Darley Boit
(1882) by John Singer Sargent.
Boston Museum of Fine Arts.

Fine art Critic John Ruskin (c.1870)
The about influential art critic
of the Victorian era in Great britain.

Historical Groundwork

The backdrop to Victorian fine fine art was the lengthy reign of Queen Victoria (1837-1901). During this time England was governed alternately by 2 great ministers, the Conservative Benjamin Disraeli (1804-1881) and the Liberal W. E. Gladstone (1809-1898), despite internal difficulties acquired by electoral problems, the Irish question, and the economic crisis of 1875. At the aforementioned fourth dimension England was involved in imperialist expansion in Africa, in the Middle Eastward and the Orient. By balletic statesmanship in internal and external affairs England maintained her material superiority and her political and social balance by accepting reforms at the right time. When the 20th century opened Britain had been for over half a century the foremost European power and the most avant-garde socially, despite the growing industrial ability of Germany. She possessed considerable material wealth, a network of global contacts, and had unique opportunities for intellectual and cultural enrichment through the many countries of her Empire. These included the one-time, the new, likewise as aboriginal civilizations in Africa and Australasia. The Victorian era is noted for its architecture and romantic painting, too as its photography and crafts, while its sculpture remained somewhat lifeless and over-academic.

Victorian Art Critics

The leading Victorian art critics included John Ruskin (1819-1900) and Walter Pater (1839-94). Ruskin taught aesthetics at Oxford from 1870. He as well attempted to chronicle man to the machine historic period and to reinstate the creative person and craftsman. He greatly admired Gothic fine art as well as Italian Renaissance fine art, and wrote "The Seven Lamps of Architecture". He was a friend and champion of the pre-Raphaelites. Ruskin'due south influence was considerable in the United States. One of his disciples was William Morris, a poet and interior designer total of social ideas who was to play a major role in English fine art. Some other important Victorian art critic was Walter Pater, who wrote a number of essays on Leonardo da Vinci (1869), Sandro Botticelli (1870), Michelangelo (1871) and Giorgione (1877). His book - Studies in the History of the Renaissance (1873) - which included the showtime three essays, included his inspired commentary on the Mona Lisa (1504), arguably the most famous piece of writing on whatever painting past a British art critic.

Victorian Architecture

As a reaction to the austere Neoclassicism of John Nash, the nigh popular building design used in Victorian Britain was probably Gothic architecture, a Neo-Gothic style which made full utilize of new materials similar wrought-fe. Other styles of Victorian architecture include: Jacobethan (1830–70) a precursor of the Queen Anne style; Renaissance Revival (1840–90); Romanesque Revival; Neo-Greek (1845–65); Second Empire (1855–80); Queen Anne Revival (1870–1910); Scots Baronial (largely confined to Scotland); British Arts and Crafts Design motility (1880–1910).

The new Gothic style was the one favoured past Victorian architects for official and religious buildings. The Perpendicular style, beingness essentially English, was at first favoured. (Note: the English language Perpendicular style corresponds to Flamboyant Gothic which flourished 1280-1500.) The gustatory modality for the past was accentuated by works published on historical architecture, by Ruskin's philosophy, and by Key Newman and other theologians within the Roman Catholic Church. Revivalist English Gothic architecture also suited new building techniques which made use of an iron skeleton framework. The rich bourgeoisie, however, preferred a Victorian style, practical merely overladen with ornamentation and eclectic in the extreme - a mixture of Gothic, Palladian, Tuscan, Renaissance, Queen Anne and Romanesque.

About 1850 the Gothic revival entered a new and creative phase with the adoption of Pugin's belief that a building'southward ethical value was more important than its aesthetic one. Ecclesiology exercised an overwhelming influence, through the Cambridge Camden Society and its choice of the Busy way as the finest fashion. (Note: the English Decorated manner corresponds to Rayonnant Gothic in France.) Ruskin'southward publications ("The Seven Lamps of Compages", 1849; "The Stones of Venice", 1851) endorsed the importance of ornament and popularised Italian Gothic with its polychromy of brick and stone.

The master architects who used the Gothic mode were G.Chiliad.Scott (1811-1878), Westward.Butterfield (1814-1900), G.Due east.Street (1824-1881) and A.Waterhouse (1830-1905). Scott was the virtually representative practitioner of High Victorian Gothic. Later on his early Martyrs' Memorial, Oxford (1841) he established his reputation with his prize-winning design for the St Nicholas Church, Hamburg. Other well known works included the Albert Memorial (1863-1873), a reliquary on a awe-inspiring scale in rock, statuary and mosaic, and the St Pancras Hotel, London (1865-1875) based on a rejected pattern for the Foreign Part. More considerable architects were Butterfield and Street. Butterfield, who had an utter ruthlessness and hatred of sense of taste, was a peachy churchman intimately associated with the revival. His masterpiece was the early Church of All Saints, Margaret Street, London (1849-1859), built for the Ecclesiological Society. Its polychromy (exterior banded in red and blackness; interior with marble marquetry and onyx tiling) indicated one of the hallmarks of High Victorian Gothic. 1000.Due east.Street worked under Scott for five years, advocated the use of Tuscan Gothic in his book "Brick and Marble Architecture of the Eye Ages in Italia" and in 1868 won the competition for the new law courts in London (completed 1882). A.Waterhouse had a heavy hand and an uncertain eclectic taste (Natural History Museum, London; Metropole Hotel, Brighton) simply considerable ability as a planner of large, complex buildings (Manchester Town Hall, 1869). T.Deane and B.Woodward, both much influenced by Ruskin, added to Trinity Higher, Dublin, in a Venetian mode, and built the University Museum, Oxford, and the Crown Life Function at Blackfriars. J.Prichard (1818-1886) made great use of polychromy; South.Southward.Teuton (1812-1873) and J.L.Pearson (1817-1897) produced a more ascetic style, typical of Late Victorian Gothic, which was used for Brisbane cathedral (started 1901, unfinished).

William Morris (1834-96) and Philip Webb (1831-1915) worked in Street's architectural role. Morris founded the Arts and Crafts motility which gave more attention to the private firm and its ornament, which he felt should be considered functionally and in relation to its surroundings. Webb and Nesfield built the Blood-red Business firm most Bexley Heath, Kent (1859), for Morris. Inspired by the Queen Anne style, they designed comfortable and beautiful country houses. R.Norman Shaw (1831-1912) had great success with his big country houses, much copied in America. Sensitive to fashion rather than originality, Shaw represented the gustatory modality of his period for stylishness and refinement (Old Swan House, Chelsea). His architecture included New Scotland Thousand (1887-88), the reconstruction of Regent Street, and the Piccadilly Hotel. C.F.A.Voysey (1857-1941) became interested in the Arts and Crafts movement in 1888. He designed small houses which harmonised well with the surrounding landscape, and he was too a designer of piece of furniture and fabrics.

Information technology was in the field of engineering rather than architecture that the new materials of metal and glass were used in England, remaining unappreciated past the general public. The Crystal Palace (destroyed by fire, 1936) was originally erected in Hyde Park for the Keen Exhibition of 1851 at the instigation of the Prince Consort. It was designed by Joseph Paxton (1803-1865), head gardener to the Knuckles of Devonshire and erected with the contractors Fox and Henderson and the glass-maker Chance. Information technology was an early case of the right use of mass-production - a completely prefabricated structure of standardised parts, covering an area of nearly 20 acres and fifty-fifty enclosing fully grown trees. Equally significant were the iron and drinking glass railway station sheds, with masonry fronts juxtaposed rather than confederate (King'south Cross, 1851-52 by Lewis Cubitt; Paddington, 1852-54 by Brunei & Wyatt).

The Reading Room at the British Museum was one of the terminal major monuments in cast iron. In advance of its time besides was the architecture of A.H.Mackmurdo (1851-1942) and C.R.Mackintosh (1868-1928) which remained localised in Glasgow. Mackmurdo was an builder and decorator, belonging to the early years of the Art Nouveau motion, who founded the Century Lodge (1882) and the review Hobby Equus caballus. Mackintosh was ane of the most bright precursors of 20th-century architecture and the leader of the Art Nouveau motion in Britain. His fundamental importance lay in his reappraisal of the role of function in building, in a style influenced by Celtic designs and Japanese traditions. In 1895 he participated in the opening exhibition of the Maison de 50'Art Nouveau in Paris with posters displaying the linear symbolic mode of the Glasgow School (1880-1915). In 1897 he won the competition for extending the Glasgow Schoolhouse of Art (1898-1909). In the Library, added in 1907-1909, directly lines dominate and the subtleties of horizontals and verticals punctuate space in a novel way. The interior of his Hill Firm, Helensburgh (1902-1905) combines light, colour, openwork partitions and light piece of furniture in a manner anticipating Dutch De Stijl. After he moved to London in 1913, his activities were confined to designing furniture and fabrics.

Famous Examples of Victorian Architectural Design

• British Museum, London (1823-57)
Designed by Sir Robert Smirke.
Neoclassical compages incorporating the Classical orders into its design.

• National Gallery, London (1832-38)
Designed by William Wilkins.
Neoclassical Greek Compages with dome and columns.

• Clifton Suspension Bridge, Bristol (c.1836-68)
Designed by Isambard Kingdom Brunel.
Suspended construction supported by wrought-fe bondage.

• Houses of Parliament, London (1839-52)
Designed by Sir Charles Barry.
Gothic architecture with Italian ground programme.

• Kings Cross Railway Station (1848-52)
Designed past Lewis Cubitt, brother of Thomas Cubitt (builder of Bloomsbury, Belgravia) and William Cubitt (chief engineer of The Crystal Palace).
Encompasses two great biconvex train sheds.

• Crystal Palace, London (1851)
Designed by Joseph Paxton.
Industrial Architecture: 300,000 panes of glass on wrought-iron framework.
Originally erected in Hyde Park before existence moved to Penge Common.

• Royal Albert Hall, London (1867-71)
Designed by Captain Francis Fowke and Major-General Henry Y.D. Scott.
Italianate style.

• St Pancras Station, London (1868-74)
Designed by Sir George Gilbert Scott.
Gothic Revival style with blood-red brick facade.

• Natural History Museum, London (1873-fourscore)
Initial pattern by Captain Francis Fowke; amended and completed past Alfred Waterhouse in his own particular Romanesque style.
Noted for its bandage-iron arches supporting the roof.

• The Firth of Forth Railway Span (1882-89)
Designed by Sir John Fowler and Sir Benjamin Baker.
Bandage iron structure.

• Victoria Building, University of Liverpool (1889-93)
Designed by Sir Alfred Waterhouse.
Built in red-brick Gothic Revival style.

• Glasgow School of Art, Renfrew Street (1897-99; 1900-09)
Designed by Charles Rennie Mackintosh.

For comparisons with contemporaneous building designs in Europe and America, please see: Nineteenth Century Architecture.

Victorian Painting

Fine art painting in Victorian U.k. reflected all the Christian and Imperial certainties of the historic period. Information technology encompassed history painting and diverse types of genre painting, as well equally landscape painting, and of class portrait art of all kinds.

History painting is best represented by the Pre-Raphaelite Brotherhood founded in 1848 by William Holman Hunt (1827-1910), Dante Gabriel Rossetti and John Everett Millais. Other artists involved with the group include Ford Madox Brown, Edward Burne-Jones, John William Waterhouse, J. Collinson, the sculptor T.Woolner and the critics F.G.Stephens and W.One thousand.Rossetti. Other artists sympathetic to P.R.B. ethics included Robert Martineau (1826-69), John Brett (1830-1902) and Arthur Hughes (1830-1915). The movement was substantially literary, the members insisting on the importance of subject area matter, elaborate symbolism and fresh iconography. They sought their truth to nature not in the life effectually them but in microscopic detail and piecemeal forcing of vivid color. The grouping initially came nether attack, but in 1851 John Ruskin came to their defence and success followed. The grouping dissolved shortly later on, Millais becoming a successful member of the Royal Academy and Rossetti founding a 2nd move at Oxford with Morris and Burne-Jones.

William Holman Chase (1827-1910) met Millais and Rossetti at the R.A. schools in 1844 and with them founded the P.R.B. in 1848, being the simply member of the group to remain faithful the group's ideals (The Hireling Shepherd, 1851; The Awakened Conscience, 1853). He went to Arab republic of egypt and the Holy Land in 1852, 1869 and 1873 where he experimented with Orientalist painting with accurate local settings and types (The Scapegoat). His "Pre-Raphaelitism and the Pre-Raphaelite Brotherhood", published in 1905, is the all-time documented memoir of the motion.

Dante Gabriel Rossetti (1828-82), poet and painter, the son of an Italian political refugee, worked under F.1000.Dark-brown and Hunt. His adherence to the tenets of the P.R.B. was short-lived. His subjects were drawn mostly from Dante and a medieval dream-world (Dante's Dream, 1853; Beata Beatrix, 1863). In 1857 with W. Morris and Burne-Jones he projected decorations for the Oxford Union.

John Everett Millais (1829-96) went to the Royal Academy'due south schools in 1840 as an babe prodigy. In 1848 he founded the P.R.B. with Hunt and Rossetti. In 1853 his friendship with Ruskin ended when he married Ruskin's former wife. He forsook his original P.R.B. ideals (The Carpenter's Shop, 1850; Ophelia, 1852; The Blind Girl, 1855) and developed into a stylish academic painter of portraits and genre (The North- West Passage; Bubbles).

Ford Madox Brown (1821-93) studied in Belgium, Paris and Rome where he was influenced by Overbeck, before returning to England in 1845. Through Rossetti, whom he taught in 1848, he came into contact with the other Pre-Raphaelites. He never became a member only was for long influenced by the group (The Terminal of England, 1845; Piece of work, 1852-65; decorations for Manchester town hall, 1878-93).

Edward Burne-Jones (1833-98) met William Morris and Rossetti at Oxford in 1852. On his travels in Italy (1859-62) he was strongly influenced past the Mantuan Renaissance painter Andrea Mantegna and the Florentine Botticelli. His paintings evoke a dreamy, romantic literary never-never land (King Cophetua and the Ragamuffin-Maid, 1844). He produced many tapestry and stained glass designs for Morris'southward business firm.

Two other exceptional history painters include: the classical history painter Paul Delaroche (1797-1856), celebrated for his melodramatic but polished historical scenes, such as The Execution of Lady Jane Grey (1833, National Gallery, London); and Daniel Maclise (1806-70), an Irish gaelic artist of outstanding power who was best known for his historical themes like The Meeting of Wellington and Blucher and The Decease of Nelson. He likewise used Shakespearean subjects drawn from Hamlet, Midsummer Night's Dream and other plays, while his drawings of eminent men of his time merit comparison with J.A.D.Ingres.

See also: Colour Palette: 19th Century.

Romanticism

Romanticism was some other important strand of 19th century British art. The greatest Romantic artist of the early Victorian period is J.One thousand.Due west.Turner (1775-1851), famous for masterpieces such every bit Hannibal Crossing the Alps (1812, Tate, London), The Burning of the Houses of Lords and Commons (1835, Philadelphia Museum of Art), Interior at Petworth (1837, Tate Collection), The Fighting Temeraire (1838-9, National Gallery, London), and Snowstorm: Steam-Boat off a Harbour'south Mouth (1842, Tate, London). Other Victorian Romantic artists include (in chronological order): John Martin (1789-1854), noted for his apocalyptic landscapes like The Slap-up Day of his Wrath (1853, Tate, London), and John William Waterhouse (1849-1917), best known for his masterpiece The Lady of Shalott (1888, Tate). The highly popular beast paintings of the Victorian portraitist Sir Edwin Landseer (1802-73) are some other excellent example of 19th century English romanticism.

Academic Painting

Academic fine art retained a ascendant position in Victorian United kingdom of great britain and northern ireland. The style was embodied by artists like Frederick Leighton (1830-1896), Edward Poynter (1836-1919) and Lawrence Alma-Tadema (1836-1912) all of whom were infrequent draughtsmen. Painters who satisfied the public's taste for anecdote and everyday scenes included Luke Fildes (1844-1927), Hubert Herkomer (1849-1914), Frank Holl (1845-1888) and William Powell Frith (1819-1909), whose narrative genre paintings included Derby Solar day and The Railway Station. The late Victorian artist Albert Chevallier Tayler (1862-1925) was likewise known for his quiet and reassuring genre works - the most noteworthy existence Breakfast, 1909; The Repose Hour, 1913; and The Grayness Drawing Room, 1917.

Impressionism

The American painter James Abbott McNeill Whistler (1834-1903) settled in England in 1859. He brought Impressionism with him from his time in Paris, as did the society portraitist John Singer Sargent (1856-1925). Britain'southward only historic home-grown Impressionist was Walter Sickert (1860-1942), a disciple of both Whistler and Degas, who became the leading fellow member of the Camden Town Grouping (1911-xiii). Due west.MacTaggart (1835-1910) (The Storm), James Guthrie (1859-1930) (A Hind'southward Daughter, 1883, National Gallery of Scotland) and John Lavery (1856-1941) added their own Impressionistic make of naturalist painting.

The greatest Victorian Impressionists, however, were the Australian artists belonging to the Heidelberg Schoolhouse effectually Melbourne. Indeed, Australian Impressionism (which was every bit naturalist in style as Dutch Post-Impressionism) is surely ane of the nigh inspirational schools of the nineteenth century. The top four Victorian Impressionists in Commonwealth of australia were Tom Roberts (1856-1931), Arthur Streeton (1867-1943), Charles Conder (1868-1909) and Fred McCubbin (1855-1917).

Portraiture

In add-on to John Singer Sargent, two of the finest Victorian portrait artists - neither of whom were associated with whatsoever gimmicky art movements - were Alfred Stevens and George Frederick Watts (run into likewise Sculpture, below). Stevens (1817-1875) was already a competent portraitist by 1833. In Italian republic (1833-42) he studied nether Thorvaldsen in Rome, 1840-42. After working as an industrial designer for the firm of Hoole in Sheffield he carried out decorations in Dorchester House (1852-62; destroyed) and mosaics in St Paul's cathedral (1862-64). He painted occasional portraits (Mrs Coleman; Mrs Young Mitchell), merely his principal surviving works are drawings, chiefly in sanguine, imbued with the spirit of the Italian Renaissance. G.F.Watts (1817-1904) studied under the sculptor Behnes earlier winning a prize in the contest for the ornamentation of the Houses of Parliament, 1843. In 1887 he began his series of famous men (Walter Crane; William Morris) in which he strove to portray character and personality also as advent. His large allegories express loftier-minded generalities in trite, literary symbolism (Mammon; Life's Illusions; Love and Death; Hope). He attempted, without a truthful understanding of the medium, to revive fresco painting (Justice, Lincoln'due south Inn, 1853-59).

Art Nouveau

Aubrey Beardsley (1872-1898) was an illustrator whose highly wrought, stylised blackness and white drawings embody a fin de siecle atmosphere and are a perfect expression of the Art Nouveau style, of which they were an important part. 1 of the groovy talents of illustration, his best works include his drawings for The Yellow Book (1894), Wilde's Salome, Tennyson'due south Morte d'Arthur and Pope'southward The Rape of the Lock.

See as well: Irish Artists: 19th Century.

Victorian Sculpture

Sculpture remained very academic throughout the 19th century. George Frederick Watts (1817-1904) was a slave to the forms of Greek sculpture; Alfred Stevens (1817-75), who studied under Bertel Thorwaldsen (1868-1944), had his get-go success in 1856 with the commission for the Wellington monument in St Paul'south cathedral (models and drawings in the Tate Gallery), although the equestrian statue of the Duke was non erected until 1920. Lord Frederic Leighton (1830-1896) produced highly skilled but somewhat lifeless work; A.Gilbert raised numerous commemorative monuments; Hamo Thornycroft (1850-1925) and F.W.Pomeroy came under the influence of the French master Jules Dalou (1838-1902) when he came to London in 1871; T.Woolner, the creator of the enormous Moses at Manchester, was the just pre-Raphaelite sculptor. Victorian sculptors did produce a number of fine portrait busts, also as a variety of interesting ceramic art. Overall, nevertheless, the dominant idiom of Victorian plastic art was a sterile academic realism, exemplified by the the Albert Memorial (come across besides Irish Sculpture and John Henry Foley), which represented the triumph of technique over creative vitality.

Famous Victorian Sculptures

• Wellington Memorial, St. Paul'southward Cathedral (1858-1912)
By Alfred Stevens

• Bosom of Mary Seacole (1859) marble, J Paul Getty Museum, LA.
By Henry Weeks (1807-77)

• Prince Albert Memorial, Hyde Park, London (1864-76)
Sculpted by Henry Armstead, John Henry Foley, John Bell.
Ciborium form of a Gothic shrine, with pinkish/grey granite columns.

• Equestrian statue of Hugh Lupus, 1st Earl of Chester (1870-83)
Bronze, Eaton Hall, Cheshire.
Past Chiliad.F.Watts

• Teucer (1881) statuary, Majestic University of Arts, London.
Past Sir Hamo Thorneycroft

• Cymon (1884) statuary, Imperial University of Arts.
Past Lord Frederic Leighton

• The Sluggard (1885) bronze, Purple Academy of Arts.
By Lord Frederic Leighton

• Bust of K.F. Watts (1889) plaster, Purple University of Arts.
By Alfred Gilbert (1854-1934)

• Bust of Lord Frederic Leighton (1892) bronze, Majestic Academy of Arts.
By Sir Thomas Brock (1847-1922)

• Sketch Model for Eros (1893) bronze, Imperial University of Arts.
By Alfred Gilbert

• Bosom of Sir John Everett Millais (1895) bronze, Majestic Academy of Arts.
Past Edward Onslow Ford (1852-1901)

• The Spirit of the Dark (1898) bronze, Musee d'Orsay, Paris.
Past Alfred Drury (1856-1944)

• Concrete Free energy (1904) plaster, hemp, Watts Gallery, Guildford, United kingdom.
By One thousand.F.Watts

Victorian Photography

The eye of the 19th century saw The Great Exhibition of 1851, the first World'south Fair, which showcased the greatest innovations of the century. The emergence of photography, showcased at the Not bad Exhibition, resulted in significant changes in Victorian art with Queen Victoria existence the first British monarch to exist photographed. (See: the History of Photography, 1800-1900.) The painter John Everett Millais was influenced by photography (notably in his portrait of Ruskin) equally were other Pre-Raphaelite artists. It afterward became associated with the Impressionist and Social Realist techniques that would dominate the later on years of the period, in the work of artists such as Walter Sickert and Frank Holl. Documentary photography and, afterward, Pictorialism were two of the most pop photographic genres of the menstruum. Among the well-nigh interesting camera artists of Victorian Britain, were: William Henry Fox Talbot (1800-1877) the inventor of photography on paper, the great portrait lensman Julia Margaret Cameron (1815-79), the topographical lensman Francis Bedford (1816-94), the explorer and documentary lensman John Thomson (1837-1921), the mural photographer Francis Frith (1822-1898) and the close-up portrait specialist David Wilkie Wynfield (1837-1887). For more, run across: 19th-Century Photographers.

Decorative Arts & Crafts

Victorian art was overladen with heavy and ostentatious decoration and with an accumulation of knick-knacks and curios of every kind. (Come across: Japonism, 1854-1900.) John Ruskin fought against mass-production and bad gustatory modality with a firm belief in the superiority of the craftsman over the machine. In 1861 William Morris founded Morris & Co. to produce a wide range of wallpapers, furniture, tapestry fine art, carpets, stained glass, furnishing materials and other types of decorative fine art, in a style fundamentally different from gimmicky Victorian in its arroyo to design and its lack of ostentatious decoration. Morris'southward anti-industrialist theories for the regeneration of men through handicraft led to the foundation of the Arts and Crafts movement in 1886. His Kelmscott Press, founded in 1890, did much to raise the standards of book design and printing. In Scotland Mackintosh, his married woman Margaret Macdonald, her sister Frances and the latter'southward husband, the architect Herbert McNair, formed the grouping "The Four". They aimed at a simplification of the whole interior setting, which Mackintosh carried into outcome when commissioned in 1897 to blueprint the piece of furniture and decorations for Miss Cranston'southward chain of tea rooms in Glasgow. In the Buchanan Street tea room (1897-98), known on the Continent through illustrations, and the Ingram Street tea room (1907-11) the emphasis is on austerity, slenderness and light tones.

Articles About 19th Century British Art

For more details about Victorian art, see the following articles:

• For the best effigy and portrait painters, see: English Figurative Painting.

• For scenic painters, see: English language Mural Painting.

• For colourism in Great britain, meet: Scottish Colourists (c.1904-30).

• Come across also the relevant section in: Irish Painting: History, Movements.

• For more than about arts and crafts during the reign of Queen Victoria, see: Homepage.

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