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WHEN Walter Creese in his Search for Environment' mentioned Beaux Arts Village east of Seattle, Washington, he identified one of the more remote responses to the Arts and Crafts Movement. For in ambition if not achievement, the colonizers of the Village were consciously seeking to create an environment in accord with that late nineteenth-century English inspiration. The Village antecedents lay in the "Art Workers' Guild" that in I90o moved from London to Chipping Campden. There a cooperative colony was formed with workshops, craftsmen's clubs, and evening classes dedicated to the ideals of a return to design standards and quality workmanship as antidotes to the impact of industrialization.2 Beaux Arts Village had similar objectives. Prior to the end of the century, a sprinkling of individuals and societies in various American cities had identified themselves with the Movement's ideals. One of the earliest was the Chalk and Chisel Club founded in Minneapolis in 1895, composed originally of woodcarvers and designers, later expanded to include additional crafts. Other centers were found at the turn of the century in New York City, Philadelphia, Indianapolis, Grand Rapids, and Dayton, Ohio; in addition, summer schools in New York, Massachusetts, and New Jersey emphasized the crafts. Chicago was another early participant in the Movement, with annual exhibits at |
