“Of late years, however, a kind of revival has been going on, as a protest against the conviction that, with all our modern mechanical achievements, comforts, and luxuries, life is growing “uglier every day,” as Mr. [William] Morris puts it. Even our painters are driven to rely rather on the accidental beauty which, like a struggling ray through a London fog, sometimes illumes and transfigures the sordid commonplace of everyday life. We cannot, however, live on sensational effects without impairing our sense of form and balance—of beauty, in short. We cannot concentrate our attention on pictorial and graphic art, and come to regard it as the one form worth pursuing, without losing our sense of construction and power of adaptation in design to all kinds of very different materials and purposes—that sense of relation — that architectonic sense which built up the great monuments of the past.
“The true root and basis of all Art lies in the handicrafts. If there is no room or chance of recognition for really artistic power and feeling in design and craftsmanship — if Art is not recognised in the humblest object and material, and felt to be as valuable in its own way as the more highly rewarded pictorial skill—the arts cannot be in a sound condition; and if artists cease to be found among the crafts there is great danger that they will vanish from the arts also, and become manufacturers and salesmen instead.
“It was with the object of giving some visible expression to these views that the Exhibitions of the Arts and Crafts Society were organised.”
Walter Crane, written in 1893