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Summary

no contributor recorded Dictionary of National Biography… (1912)

Craven was probably the greatest scene-painter of his century. The equal of Stanfield and Beverley in craftsmanship and imagination, he excelled both in the capacity to adapt his knowledge to the needs of the stage. As scenic innovator he ranks with Loutherbourg. He was the first to demonstrate that tones thrown upon the scene by phantasmagoric lights are subtler in atmospheric effect than tones wholly expressed by paint on canvas. He painted his Lyceum scenery with a view to the particular kind of light it was to bear.
Source: Wikisource

no contributor recorded Dictionary of National Biography… (1912)

The plan is broad and simple; yet the architecture is marked by great richness. Adhering to his habitual picturesque treatment of outline, Waterhouse here allowed himself an unwonted exuberance of detail; the result is a building very distinctive and original, but in striking contrast to the studiously restrained treatment of the neighbouring City and Guilds Institute, which he designed in 1881.
Source: Wikisource

no contributor recorded Dictionary of National Biography… (1912)

His real devotion was to art. Having shown as a boy a remarkable gift for likeness and caricature, he took up the practice of painting in earnest after leaving Cambridge, and was the pupil successively of Alphonse Legros and Giovanni Costa. Of his many friendships the most intimate were with artists, especially with the two above named and with Burne-Jones, Leighton, Watts, Thomas Armstrong, Pepys Cockerell, and latterly Sir Charles Holroyd. He had an intense sympathy for Italy and the Italians, and in early life cherished a close and reverential friendship for Mazzini.
Source: Wikisource

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