Imre Jakabffy (szerk.): Ars Decorativa 1. (Budapest, 1973)

KOÓS, Judith: Walter Crane and Hungary

The edition of his works in Hungarian had a basic role in making Ruskin's principles and views knows over here. "The Stones of Venice"- published in England in 1851—53 with the artist's own illustrations and translated into several languages appeared in 1896 in our country, in the edition of the Hungarian Academy of Sciences, with the original illustrations. Translator: Sarolta Geöcze. The motivation for the issue of the work reads on the back of the title-page as follows: "At the effectuation of the publishing committee of the Hungarian Academy of Sciences, in the edition of the Academy, a series of original and translated scientific works appears. The aim of this enterprise: the propagation of scientific education through works holding fort the sciences on their today's level. The committee devotes special care to the acquisition of the works and peculiarly to the judgement and checking of the translations, too. Accordingly, every translated work will be examined previously by an expert called upon to do so; who then will share the responsibility for the correctness and fidelity of the rendering with the translator. The translation of the present work is supervised by Zsolt Beöthy ordinary member. Publishing Committee of the Hungarian Academy of Sciences." From the point of view of our subject: W. Crane and Hungary, the Anglo-Hungarian connections, one of the most important works is the original volume by the translator of the above mentioned book, that appeared bearing the title "Ruskin élete és tanítása" (Ruskin's Life and Message) in 1903.

1 The book offers a comprehensive evaluation of the master's life. Acquaints us with his creed, family environment as well as with his aesthetical and sociophilosophical tenets. In the second part of her book, the autor analyzes Ruskin's views on the art, partly on the basis of the "Modern Painters", and partly on that of the "Seven Lamps of Architecture". The book is complemented by a list of Ruskin's works and works about him, as well as 16 plates, partly illustrations made by Ruskin to his own works, and partly reproductions of the pictures painted by the members of the Pre-Raphaelite Brotherhood, and Turner, the great ideal of the young Ruskin. After one year this significant publication the Műbarátok Köre (Circle of the Lovers of Art) issued, as the annual subscription volume for its members, the work by Aladár Kriesch entitled "Ruskinról és az angol praerafaelitákról"'

1 (On Ruskin and the English Pre-Raphaelites) containing the author's 4 lectures delivered in the Circle of the Lovers of Art. The endpapers of the book were designed by Aladár Kriesch (Fig. 1). In the two page composition of plant motifs, repeated, though not exactly like reflections in a mirror, but in a similar rhythm and construction, the names of the Pre-Raphaelite circle can be read: Ruskin, Morris, Rossetti, F. M. Brown, W. Hunt artists, and Burne Jones sharing their opinions. Aladár Körösfői Kriesch was one of the most faithful followers of the English Pre-Raphaelites as well as Ruskin and Morris. His activity, artistic approach and writings drawing up a program, all reflect his conviction that the British initiatives are very valuable from the aspect of the reformation of the Hungarian applied arts. In the foundation of the carpet weaving workshop at Gödöllő, too, English inspirations had their role.

5 Besides his above mentioned book, Aladár Kriesch wrote several articles most of which appeared in the periodical „Magyar Iparművészet" (Hungarian Decorative Arts).*' This periodical reported in a lot of shorter and longer articles and essays on the field of 154