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From the Jerusalem Diary of Eric Gill

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The views promoted by Gill and Pepler in The Game and their other publications were often deliberately provocative, anti-capitalist and opposed to industrialisation. In London, Gill would stay at his old lodgings in Lincoln's Inn with his brother Max or with his sister Gladys and Ernest Laughton, her future husband. But if so, and especially after the revelations on his morally unacceptable intimate misdeeds, should we still place Gill in the pantheon of high arts? Gill continued to concentrate on lettering and inscriptions for stonework and employed a pupil for his signwriting business.

Bill owned a villa set in several acres in the French Pyrenees at Salies-de-Béarn and which the Gills often visited.

The other key working relationship Gill established while at Capel-y-ffin was with Stanley Morison, the Typographic Advisor to the Monotype Corporation.

I was there at the invitation of the museum’s director, Nathaniel Hepburn, who had read a column I’d once written about the vexed issue of censorship and the arts. Meanwhile, even as the deadline for putting the exhibition together approaches, Hepburn continues to consider precisely what else will appear. Naturally, the people doing all this objecting often know very little about Gill, save for the fact of his paedophilia, and they trade in misinformation and hearsay.Our current thinking is that we will make sure there is always one object on display that enables us to tell the story. He frequently courted controversy with his opposition to industrialisation, modern commerce, and the use of machinery in both the home and the workplace. The erotic nature of The Song of Songs and of the illustrations for Edward Powys Mathers's Procreant Hymn caused considerable controversy in Roman Catholic circles and led to protracted arguments between Gill and members of the clergy. It seems that, either the post-modern, punk 1980s were not as far from the attitudes of the interwar period, or Gill’s works simply crossed the fine line of universally understood morality. He rejected the usual sculpture technique of first making a model and then scaling up using a pointing machine, in favour of directly carving the final figure.

The Tate Modern in London, which holds 107 artworks by Gill, has also made this aspect of his life explicit in their displays and catalogue. Even in Ditchling, where connections to the Gill family still run deep and where the Museum of Art + Craft is so important to the community, these headlines will spring up. After Gill died, his brother, Evan, compiled an inventory of 762 inscriptions known to have been carved by him.An age requirement would imply that all of the content is inappropriate for children to see, and that isn’t the case at all. D. Caröe, specialists in ecclesiastical architecture with a large office close to Westminster Abbey. The various versions of Belle Sauvage became among the most popular of Gill's illustrations and were modelled by Beatrice Warde, a historian of typography, an executive of the Monotype Corporation and sometimes Gill's lover. In 2014, for instance, the Daily Record reported that some local people were demanding the removal of Gill’s statue of St Michael the Archangel in St Patrick’s Catholic Church, Dumbarton, because it had been “made by a paedophile”.

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