Editing Arts and Crafts movement (section)

=== The British Isles ===

==== Scotland ====
The beginnings of the Arts and Crafts movement in Scotland were in the stained glass revival of the 1850s, pioneered by [[James Ballantine]] (1806–1877). His major works included the great west window of [[Dunfermline Abbey]] and the scheme for [[St. Giles Cathedral]], Edinburgh. In Glasgow it was pioneered by [[Daniel Cottier]] (1838–1891), who had probably studied with Ballantine, and was directly influenced by [[William Morris]], [[Ford Madox Brown]] and [[John Ruskin]]. His key works included the ''Baptism of Christ'' in [[Paisley Abbey]], (c. 1880). His followers included Stephen Adam and his son of the same name.<ref>M. MacDonald, ''Scottish Art'' (London: Thames and Hudson, 2000), {{ISBN|0-500-20333-4}}, p. 151.</ref>

The Glasgow-born designer and theorist [[Christopher Dresser]] (1834–1904) was one of the first, and most important, independent designers, a pivotal figure in the [[Aesthetic Movement]] and a major contributor to the allied [[Anglo-Japanese]] movement.<ref>H. Lyons, ''Christopher Dresser: The People Designer – 1834–1904'' (Antique Collectors' Club, 2005), {{ISBN|1-85149-455-3}}.</ref> The movement had an "extraordinary flowering" in Scotland where it was represented by the development of the '[[Glasgow Style]]' which was based on the talent of the [[Glasgow School of Art]].  Celtic revival took hold here, and motifs such as the Glasgow rose became popularised. [[Charles Rennie Mackintosh]] (1868–1928) and the Glasgow School of Art were to influence others worldwide.<ref name="grove" /><ref name="dublin" />

[[File:The Robert Owen Museum, Newtown.jpg|thumb|The Robert Owen Museum, [[Newtown, Powys|Newtown, Wales]], by [[Frank Shayler]]]]

====Wales====
The situation in Wales was different from elsewhere in the UK. Insofar as craftsmanship was concerned, Arts and Crafts was a ''revivalist'' campaign. But in Wales, at least until [[World War I]], a genuine craft tradition still existed. Local materials, stone or clay, continued to be used as a matter of course.<ref>{{Cite book|last=Hilling|first=John B.|chapter-url=https://books.google.com/books?id=Oe2VDwAAQBAJ&q=Arts+and+Crafts+Movement+Wales&pg=PA221|title=The Architecture of Wales: From the First to the Twenty-First Century|date=15 August 2018|publisher=University of Wales Press|isbn=978-1-78683-285-6|pages=221|language=en|chapter= 'Arts and Crafts' to Early Modernism, 1900 to 1939}}</ref>

Scotland become known in the Arts and Crafts movement for its stained glass; Wales would become known for its pottery. By the mid 19th century, the heavy, salt glazes used for generations by local craftsmen had gone out of fashion, not least as mass-produced ceramics undercut prices. But the Arts and Crafts Movement  brought new appreciation to their work. Horace W Elliot, an English gallerist, visited the [[Ewenny Pottery]] (which dated back to the 17th century) in 1885, to both find local pieces and encourage a style compatible with the movement.<ref>{{Cite book|last=Aslet|first=Clive|url=https://books.google.com/books?id=I-Pa9IIfP3QC&q=Ewenny+Pottery+Arts+and+Crafts+Elliot&pg=PA477|title=Villages of Britain: The Five Hundred Villages that Made the Countryside|date=4 October 2010|publisher=A&C Black|isbn=978-0-7475-8872-6|pages=477|language=en}}</ref> The pieces he brought back to London for the next twenty years revivified interest in Welsh pottery work.

A key promoter of the Arts and Crafts movement in Wales was [[Owen Morgan Edwards]]. Edwards was a reforming politician dedicated to renewing Welsh pride by exposing its people to their own language and history. For Edwards, "There is nothing that Wales requires more than an education in the arts and crafts."<ref>{{Cite book|last1=Davies|first1=Hazel|url=https://books.google.com/books?id=RhMhAAAAMAAJ&q=O.M.+Edwards+Arts+and+Crafts|title=O. M. Edwards|last2=Council|first2=Welsh Arts|date=1 January 1988|publisher=University of Wales Press on behalf of Welsh Arts Council|pages=28|isbn=978-0-7083-0997-1|language=en}} Sec. 3</ref> – though Edwards was more inclined to resurrecting Welsh Nationalism than admiring glazes or rustic integrity.<ref>{{Cite book|last1=Rothkirch|first1=Alyce von|url=https://books.google.com/books?id=xZViAAAAMAAJ&q=Welsh+Arts+and+Crafts|title=Beyond the Difference: Welsh Literature in Comparative Contexts : Essays for M. Wynn Thomas at Sixty|last2=Williams|first2=Daniel|date=2004|publisher=University of Wales Press|isbn=978-0-7083-1886-7|pages=10|language=en}}</ref>

In architecture, [[Clough Williams-Ellis]] sought to renew interest in ancient building, reviving "rammed earth" or [[Rammed earth|pisé]]<ref>{{cite web | url=http://www.arct.cam.ac.uk/Downloads/chs/final-chs-vol.19/chs-vol.19-pp.107-to-126.pdf |archive-url=https://web.archive.org/web/20151222130124/http://www.arct.cam.ac.uk/Downloads/chs/final-chs-vol.19/chs-vol.19-pp.107-to-126.pdf |archive-date=22 December 2015 |url-status=live | title=CHS Vol | date=2 May 2012 }}</ref> construction in Britain.

==== Ireland ====
The movement spread to Ireland, representing an important time for the nation's cultural development, a visual counterpart to the literary revival of the same time<ref>Nicola Gordon Bowe, ''The Irish Arts and Crafts Movement (1886–1925)'', Irish Arts Review Yearbook, 1990–91, pp. 172–185</ref> and was a publication of Irish nationalism. The Arts and Crafts use of stained glass was popular in Ireland, with [[Harry Clarke]] the best-known artist and also with [[Evie Hone]]. The architecture of the style is represented by the [[Honan Chapel]] (1916) in [[Cork (city)|Cork city]] in the grounds of [[University College Cork]].{{sfn|Teehan|Heckett|2005|p=163}} Other architects practicing in Ireland included Sir [[Edwin Lutyens]] (Heywood House in Co. Laois, Lambay Island and the [[Irish National War Memorial Gardens]] in Dublin) and Frederick 'Pa' Hicks ([[Malahide Castle]] estate buildings and round tower). Irish Celtic motifs were popular with the movement in silvercraft, carpet design, book illustrations, and hand-carved furniture.