Editing Eric Gill (section)

===Pigotts, Buckinghamshire 1928–1934===
In October 1928, the Gill family moved to Pigotts at [[Speen, Buckinghamshire|Speen]], five miles from [[High Wycombe]] in Buckinghamshire. Around a quadrangle with a central pigsty were a large farmhouse housing Eric and Mary Gill, a cottage for Petra and her husband Denis Tegetmeier and another for Joanna and René Hague. Stables and barns were converted to studios and workshops and to house printing presses.<ref name="FMacCarthy" />{{rp|225}} A chapel was fitted into one corner and licensed within six months for the saying of Mass.<ref name="FMacCarthy" />{{rp|226}}
[[File:St James's Park Station sculptures – North Wind by Eric Gill.jpg|thumb|''North Wind'', St James's Park Station, London]]
The success of his 1928 exhibition at the Goupil Gallery had raised Gill's profile considerably and led to [[Charles Holden]] commissioning him to lead a team of five sculptors, including [[Henry Moore]], in creating some of the external sculptures for the new headquarters building of the [[Underground Electric Railways Company of London|London Electric Railway]], the forerunner of [[London Underground]].<ref name="FMacCarthy" />{{rp|228}} Gill started on the project within days of arriving at Pigotts and worked on site in London from November 1928 to carve three of eight relief sculptures on the theme of ''The Four Winds'' for the building.<ref name="FMacCarthy" />{{rp|229}}

[[File:Belle Sauvage IV. Cropped from MacRobert 1957 Plate 46 Art-Nonsense Title Page.jpg|thumb|left|Belle Sauvage IV. From the title page of ''Art-Nonsense'']]
''Art-Nonsense And Other Essays by Eric Gill'' was published in 1929 and marked the first commercial use of the ''[[Perpetua (typeface)|Perpetua]]'' typeface. The frontispiece of the book had an engraving of ''Belle Sauvage'', an image of a naked women stepping out of some woods. 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.<ref name="FMacCarthy" />{{rp|232}} 

In 1929, [[Douglas Cleverdon]] published ''Engravings by Eric Gill''. This edition reproduced over a hundred of Gill's engravings on wood and metal up to the year 1927, and also included a complete chronological list of engravings, and a preface by Gill.<ref>{{cite book |last1=Gill |first1=Eric |title=Engravings by Eric Gill |date=1929 |publisher=Douglas Cleverdon |location=Bristol |url=https://archive.org/details/eric-gill-selected-engravings-1929_2}}</ref>

By 1930 Gladys Gill had divorced her second husband after her first, Ernest Laughton, had been killed in the [[Battle of the Somme]], and she and Eric appear, from his diary entries, to have resumed their incestuous relationship.<ref name="FMacCarthy" />{{rp|239}} Later that same year, the diaries record what Gill called his "experiments" with a dog.<ref name="FMacCarthy" />{{rp|239}} In September 1930, he was taken seriously ill with a variety of symptoms, including amnesia, and spent several weeks in hospital.<ref name="FMacCarthy" />{{rp|237}}

[[File:Prospero and Ariel (94216050).jpg|thumb|''Prospero and Ariel'', BBC Broadcasting House]]
[[File:Ariel between Wisdom and Gaiety.jpg|thumb|''Ariel between Wisdom and Gaiety'' with the Latin inscription ''obsculta'' (obey), BBC Broadcasting House]]
The following two years were among the most creatively accomplished of Gill's career, with several achievements. The Hague and Gill press was established at Pigotts in 1931 and eventually printed 16 of Gill's own books and booklets while he also illustrated six other books for the company.<ref name="Ruth&JoeC"/> For the Hague and Gill press he created the ''[[Joanna (typeface)|Joanna]]'' typeface, which was eventually adapted for commercial use by Monotype. He completed ''The Four Gospels'', widely considered to be the finest of all the books produced by the Golden Cockerel Press, and began working on the sculpture ''Prospero and Ariel'' for the BBC's [[Broadcasting House]] in London.<ref name="FMacCarthy" />{{rp|243}} Throughout 1931 and into 1932, Gill worked on ''Prospero and Ariel'', and four other works for the BBC, on site in central London.<ref name="FMacCarthy" />{{rp|245}} Carving in the open air up on scaffolding in the middle of London further increased Gill's public profile.<ref name="FMacCarthy" />{{rp|247}} Although Gill had accepted the BBC's choice of subject matter when he took the commission, he did not see its relevance and frequently claimed that the figures he created represented God the Father and God the Son, the latter complete with the marks of the [[stigmata]].<ref name="RCribb"/><ref>{{cite web |url=https://www.tate.org.uk/art/artworks/gill-prospero-and-ariel-n04808 |title= Catalogue entry: ''Prospero and Ariel'' 1931 |website= Tate |access-date=8 March 2022}}</ref>

The [[Midland Hotel, Morecambe]] was built in 1932–33 by the [[London Midland & Scottish Railway]] to the [[Art Deco]] design of [[Oliver Hill (architect)|Oliver Hill]] and included [[Eric Gill works at the Midland Hotel, Morecambe|several works]] by Gill, [[Marion Dorn]], and [[Eric Ravilious]]. For the project Gill, with Lawrence Cribb and [[Donald Potter]], produced two seahorses, modelled as Morecambe shrimps, for the outside entrance; a round plaster relief on the ceiling of the circular staircase inside the hotel; a decorative wall map of the north-west of England; and a large stone relief of [[Odysseus]] being welcomed from the sea by [[Nausicaa]] for the entrance lounge.<ref name="tmh">{{cite book|title=The Midland Hotel. Morecambe's White Hope|author=Barry Guise & Pam Brook|publisher=Palatine Books |location=Lancaster, England|year=2008|isbn=978-1-874181-55-2}}</ref> While working in Morecambe, Gill met May Reeves, who became a regular visitor to Pigotts before moving there to run a small school and becoming Gill's resident mistress for several years.<ref name="FMacCarthy" />{{rp|256}}