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Nice try changing the subject...you are still trying in vain to shoot down my A&C essay. The fact remains the A&C movement had a major affect on all aspects of British society at the turn of the century...including golf architecture. I'm not sure why you believe golf architecture existed in some kind of cultural vacuum."
Tom:
Yes I am trying to shoot down a few of your conclusions in your five part A&C essay. I'm trying to do that because I don't feel those two conclusions are true or historically supportable---at the very least not anywhere near the extent you're trying to assign. And for about the tenth time I'm not saying, nor have I ever said that golf course architecture existed in some kind of artistic or cultural vacuum. Far from that---the artistic and cultural influences on golf architecture are pretty clear and pretty well known and not all that few either. I believe those influences have been pretty well chronicled too in the long and rich history of golf architecture literature. For God's sake, an early influence that's very rarely mentioned on here---the horse--and the entire culture of the horse and recreations involved with the horse in that early time probably had a greater influence on many aspects of the evolution of the art of golf architecture than your A&C movement did! The incipient reaction of the early Golden Age to that alone probably had as much to do with the direction the art form went later in it's quest back towards naturalism as anything else.
I sort of resent a statement on your part that my only source of information on the Arts and Crafts movement and early golf architecture is Cornish and Whitten. That is certainly not the case in the slightest. It's pretty typical of you to not see the ludicrousness of you actually telling me with any kind of seriousness that you're aware of what I've read or not or refer to.
Frankly, C&W is a pretty darned good and accurate compilation of the real influences on golf archtiecture and early golf architecture and it isn't exactly lost on me that the Arts and Crafts Movement's influence is hardly mentioned. What is mentioned and historically accurate is the influences of linksland, heathland and the other various evolutionary influences from both golf and golf architecture that have been pretty well known and accepted throughout the very rich literature of golf architecture over the years.
It's pretty interesting to me and pretty curious, amazing really that for some reason you actually think after all that you can somehow redefine what the real and most impactful influence on golf architecture and the Golden Age was which apparently no one of that time or any other time apparently noticed or admitted. That alone is one of the most salient facts that you should probably attempt to deal with if you care to convince anyone who really cares about and studies the evolution of golf architecture of the historical accuracy of your conclusions about the A&C Movements influence on golf architecture.
If Ran Morrissett actually believes that Huthinson should be called the Father of golf architecture and the Golden Age should be called or considered "Arts and Crafts" architecture I'm pretty confident I can probably disabuse him of such a silly notion, at least of the extent of it that you propose.
As for GeoffShac, I've known him for years and have talked with him for years about all kinds of things to do with golf architecture and the influences on it of earlier times. I've known about Geoff's interest in the Arts and Crafts movement for years and talked to him about it both before during and after going to California. My strong recollection is that he does believe it had a notable influence on the general atmosphere of golf, particularly West Coast golf of the 1920s and such and particularly on supplemental things to do with golf courses such as the style of clubhouses and such.
This has always been my general point to you on this subject---that the A&C Movement in the sense of golf has always been far more of an influence on building architecture related to golf courses than on golf course architecture itself. The mediums, if one looks at them clearly, are just different enough to make this fact obvious.
And if Geoff Shackelford actually feels the way you do about those two conclusions of Hutchinson and the fact Golden Age architecture should be more accurately considered or called "Arts and Crafts" architecture then one wonders why Geoff never made that point in the series of really good an accurate books he's already written on golf course architecture of the Golden Age and the influences on it!
And lastly, of course we're all entitled to our own opinions on these things and that's exaclty why I will continue to mention these things---because I just do not agree with some of your opinions or conclusions. That's what a golf architectural website discussion group, that's any good, as this one is, is all about!