THE ARTS & CRAFTS MOVEMENT was a spirited union of principles and practices—social, artistic, and philosophical—that rose out of a protest to the adverse effects of 19th-century industrialization.

HANDCRAFT WAS ITS THEME, simplicity its virtue. Pursuit of the essential beauty therein transformed the arts and infused the objects of everyday life with thoughtful design and workmanship. Sparked by a visionary few, this new way of seeing and living would soon take root and welcome a decorative code in sharp contrast to its Victorian predecessor.

THE MOVEMENT BEGAN in Victorian England where half a century of mechanized efficiency had nearly quenched a time-honored and individualized approach to making things. Advancing technology had led to a proliferation of factories and jobs in urban centers luring many to abandon their rural outposts. The sudden shift in short decades from an agrarian society fulfilling its economy within community borders, where seasoned shop artisans met household needs, gradually withered and gave way to the dictatorial command of grinding belts and wheels.

AN EXPANDING WORK FORCE and middle class, intent on soothing their aches with the consumption of available goods, reveled in the hasty output and filled their homes with layers of it. It was against this sad plight of citizens toiling mindlessly to produce such a tumult that farsighted critics rallied to lead a movement for reform. Their quest, shared with gathering brethern, was to unite art and life in quality through the dignity of labor. They began by carving a set of ideals inpired by medieval craft guilds, spreading word and vision beyond their nation and into the coming decades.

ENGLAND’S WILLIAM MORRIS AND AMERICA’S GUSTAV STICKLEY were among chief proponents of the movement and ardent adherents to its principles. With notable others, they shaped its destiny as innovators in the production of its wares. Pattern was a passion for Morris. His textile and wallpaper designs of more than 100 years ago are still sold today. Careful studies of nature come to life again in his beautifully interlaced floral and leaf motifs. Gustav Stickley demonstrated integrity and quality workmanship in his furniture making and went on to found The Craftsman, a monthly publication spanning 15 years, that promoted his products and the philosophy of the movement.