Page:Dictionary of National Biography volume 13.djvu/16

 tenance of four additional poor knights at Windsor Castle.

At the time of Crane's death 140 persons were employed in the works at Mortlake, and the manufactory was carried on long after 1636. Rubens and Vandyck are said to have assisted in the designs, and Klein the German was brought over to this country for the purpose of helping in the operations. For three pieces of tapestry, the largest of which depicted the history of Hero and Leander, the sum of 2,872l. was paid from the royal treasury in March 1636, and Archbishop Williams gave 2,500l. for representations of the four seasons. The hangings at Houghton with whole lengths of kings James and Charles and their relations, and the tapestry at Knole wrought in silk with portraits of Vandyck and Crane, were woven at Mortlake. The masterpiece of the works was the ‘Acts of the Apostles,’ presented to Louis XIV by James II, and now in the National Garde-Meuble of France. A representation of ‘Neptune and Cupid interceding for Mars and Venus’ from the Mortlake tapestry is reproduced in the 21st part of Guiffrey's ‘General History of Tapestry.’ A portrait by Vandyck of Crane, who was the last lay chancellor of the order of the Garter, was in the possession of John Simco, who published a print of it in 1820.



CRANE, JOHN (1572–1652), apothecary, was a native of Wisbech, Cambridgeshire. He settled at Cambridge, where he became an eminent apothecary, and he appears in the latter part of his life to have practised as a physician (, Life of Abp. Ussher, pp. 320, 321). (1535–1618) [q. v.], the most celebrated physician of his age, lived in Crane's house, and left him great part of his estate (, Annals of Cambridge, iii. 121, 123, 450). Edward Hyde, afterwards Lord Clarendon, when about twenty years old, was taken ill at Cambridge, and was attended by Crane. In his ‘Life’ he calls him ‘an eminent apothecary who had been bred up under Dr. Butler, and was in much greater practice than any physician in the university’ (Gent. Mag. lx. pt. i. pp. 509, 510). Crane used to entertain openly all the Oxford scholars at the commencement, and to relieve privately all distressed royalists during the usurpation (, Memoires, ed. 1677, p. 634). He was lord of the manors of Kingston Wood and Kingston Saint George, Cambridgeshire (, Cambridgeshire, p. 223). In 16 Car. I he served the office of sheriff of that county (, Worthies, ed. Nichols, i. 176).

He died at Cambridge on 26 May 1652, aged 80, and was buried in Great St. Mary's, in the chancel of which church there is a mural tablet with his arms and a Latin inscription (, Monumenta Anglicana, ii. 12;, Collectanea Cantabrigiensia, p. 97). He gave the house in which he lived in Great St. Mary's parish, after the death of his widow, to the regius professor of physic for the time being. He also gave 100l. to the university, ‘to be lent gratis to an honest man, the better to enable him to buy good fish and fowl for the university, having observed much sickness occasioned by unwholesome food in that kind’ (, Worthies, ed. Nichols, i. 166). Altogether he bequeathed 3,000l. for charitable purposes, and he left legacies of 200l. to Dr. Wren, bishop of Ely, and Dr. Brownrigg, bishop of Exeter (, Annals of Cambridge, iii. 450; Charity Reports, xxxi. 16, 379).



CRANE, LUCY (1842–1882), art critic, born on 22 Sept. 1842 in Liverpool, was the daughter of [q. v.], portrait and miniature painter. From Liverpool the family removed to Torquay in 1845. Lucy Crane afterwards went to school in London, and in 1859 the family left Torquay for London. From an early age Lucy Crane showed considerable taste and skill in drawing and colouring. Circumstances, however, turned her attention to general educational work. She became an accomplished musician, and was not only distinguished for her delicacy of touch as an executant, but also for the classical refinement of her taste and her knowledge of the earlier Italian and English. She devoted her leisure to literature, writing in both verse and prose. She contributed to the ‘Argosy,’ and wrote the original verses (‘How Jessie was Lost,’ ‘The Adventures of Puffy,’ ‘Annie and Jack in London,’ and others) and rhymed versions of well-known nursery legends for her brother Walter's coloured toy-books. The selection and arrangement of the accompaniments to the nursery songs in the ‘Baby's Opera’ and ‘Baby's Bouquet’ are also due to her; and a new translation by her of the ‘Hausmärchen’ of the Brothers Grimm was illustrated by her brother, Walter Crane.