sociated with the movement's various phases. This idea was that "all objects, even the humble everyday things we use, have artistic potential" and our entire constructed environment, home and work spaces, "could be made into art, with built-in furniture and other housewares all designed from one point of view by the same hand or sympathetic collaborators." Such an overall consistency of aesthetic and stylistic approach was important to both movements.
The Arts and Crafts Movement was founded in reaction to the ugliness of machine-made and mass-produced goods and the founders of the movement believed it was important to replace these objects with things of beauty. The Arts and Crafts advocates often looked back to the example of the Middle Ages as a time that, in their imaginative recreation, offered a refreshing and vital contrast to the "crass and spiritually vacuous utilitarian" spirit that infused their own industrializing age. In medieval times, the argument went, the individual craftsman was responsible for the work he did and no machine could ever really replace him. The men and women of the movement placed this stress on the individual craftsperson because they were essentially attacking the conditions under which work was conducted in Victorian Eng
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