This chapter examines Morris’s role and impact in the emergence of the movement from the 1880s onwards. Many of his ideas were developed by the next generation, ironically at a time when Morris was losing faith in his early passions. Young architects including Ashbee, Gimson and Lorimer met Morris, became involved in organisations such as the Society for the Protection of Ancient Buildings and played a role in setting up the Art Workers’ Guild and other new groups. There was a real enthusiasm for communal art. Craft workshops were set up, initially in cities, with the Cotswolds emerging as the movement’s first and major rural centre. The main driver was the idea of hands-on learning by doing, both in a workshop setting and in art schools. Morris’s success as a pattern designer ensured that this aspect of his work continued to inspire others, as did his passion for a beautiful house and a beautiful book. His emphasis on art for all also saw the emergence of opportunities for amateur arts. Morris’s legacy was widely acknowledged in Britain and beyond after his death, helped by the efforts of his daughter May in editing her father’s writings.