Editing Arts and Crafts movement (section)

===John Ruskin===
The Arts and Crafts philosophy was derived in large measure from [[John Ruskin]]'s social criticism, deeply influenced by the work of [[Thomas Carlyle]].<ref>{{cite book|last=Blakesley |first=Rosalind P. |date=2006 |title=The arts and crafts movement |url=https://archive.org/details/artscraftsmoveme0000blak |url-access=registration |publication-place=London |publisher=Phaidon |isbn=978-0-7148-3849-6 |oclc=1147708297}}</ref> Ruskin related the moral and social health of a nation to the qualities of its architecture and to the nature of its work. Ruskin considered the sort of mechanized production and division of labour that had been created in the [[industrial revolution]] to be "servile labour", and he thought that a healthy and moral society required independent workers who designed the things that they made. He believed factory-made works to be "dishonest," and that handwork and craftsmanship merged dignity with labour.<ref>{{Cite web|url=http://www.arts-crafts.com/archive/jruskin.shtml|title=John Ruskin – Artist Philosopher Writer – Arts & Crafts Leader|website=www.arts-crafts.com|access-date=16 March 2019|archive-date=18 December 2019|archive-url=https://web.archive.org/web/20191218182444/http://www.arts-crafts.com/archive/jruskin.shtml|url-status=dead}}</ref> 

On the artistic side Ruskin was influenced by his contemporary [[Eugène Viollet-le-Duc|Viollet le Duc]] whom he taught to all of his pupils. In a letter to one of his pupils Ruskin writes : "There is only one book of any value and that is the Dictionnary of Viollet le Duc. Everyone should learn French".  And according to some Ruskin's influence on Arts and Crafts was supplanted in 1860 by that of Viollet le Duc.<ref>{{Cite book |last=Brock Kennedy |first=Travis |title=The great flaw in the man |date=2018 |publisher=Columbia University NY }}</ref> 

His followers favoured craft production over industrial manufacture and were concerned about the loss of traditional skills, but they were more troubled by the effects of the [[factory system]] than by machinery itself.<ref name=sarsby>Jacqueline Sarsby" Alfred Powell: Idealism and Realism in the Cotswolds", ''Journal of Design History'', Vol. 10, No. 4, pp. 375–397</ref> William Morris's idea of "handicraft" was essentially work without any division of labour rather than work without any sort of machinery.<ref name=pye>David Pye, ''The Nature and Art of Workmanship'', Cambridge University Press, 1968</ref> Morris admired Ruskin's ''The Seven Lamps of Architecture'' and ''The Stones of Venice'' and had read ''Modern Painters'', but he did not share Ruskin's admiration for [[J. M. W. Turner]]<ref>Tim Hilton, ''John Ruskin'', Vol.2</ref> and his writings on art indicate a lack of interest in easel painting as such. On his side, Ruskin dissented firmly from the idea that became Arts-and-Crafts orthodoxy, that decoration should be flat and should not represent three-dimensional forms.<ref>John Ruskin, ''The Two Paths''</ref>