Editing Arts and Crafts movement (section)

====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.