The Reckoning of Time () is an English era treatise written in Medieval Latin by the Northumbrian monk Bede in 725.

Background

In mid-7th century Anglo-Saxon England, there was a desire to see the Easter season less closely tied to the Jewish Passover calendar as well as a desire to have Easter observed on a Sunday.

Continuing a tradition of Christian scholarship exploring the correct date of Easter, a generation later, Bede sought to explain the ecclesiastical reasoning behind the Synod of Whitby's decision in 664 to favor Roman custom over Irish custom.

Bede's resulting treatise provides justification for  a precise calculation for Easter. It also explains why time, and the various units of time, are sacred.

Structure

The treatise includes an introduction to the traditional ancient and medieval view of the cosmos, including an explanation of how the Earth influenced the changing length of daylight, of how the seasonal motion of the Sun and Moon influenced the changing appearance of the new moon at evening twilight, and a quantitative relation between the changes of the tides at a given place and the daily motion of the Moon.

The Reckoning of Time describes the principal ancient calendars, including those of the Hebrews, the Egyptians, the Romans, the Greeks, and the English. The focus of  was calculation of the date of Easter, for which Bede described the method developed by Dionysius Exiguus.  also gave instructions for calculating the date of the Easter full moon, for calculating the motion of the Sun and Moon through the zodiac, and for many other calculations related to the calendar.

Bede based his reasoning for the dates on the Hebrew Bible. The functions of the universe and its purpose are generally referred to a scriptural foundation. According to the introduction by Faith Wallis in the 1999 English translated edition of The Reckoning of Time, Bede aimed to write a Christian work that integrated the astronomical understanding of computing with a theological context of history. The book is also regarded by Bede to be a sequel to his works The Nature of Things and On Time.

Sections
The work is divided into six sections:

Technical preparation (Chapters 1–4)
This section familiarizes the reader with terminology regarding measurements.

In chapter 3 Bede defines a day as being 12 hours long. An hour consists of increments of ,  and . Each of which are small increments of time within the hour. The smallest increment of time is the atom.

The Julian calendar (Chapters 5–41)
Here, Bede gives an exhaustive overview of the date of the Earth's creation, the months, the weeks and the Moon.

He argues that the first day did not, as it was generally believed, take place at the time of an equinox. According to the religious accounts of God's creation of the universe, light was created on the first day. It was not until the fourth day, however, that God created the stars and therefore there was no measurement of hours.

Much of this section is devoted to the Moon. Bede goes into extensive detail about measuring the moon's cycles, the Moon's relationship to the Earth and Sun. Bede discusses the Moon's relationship to the tide and calculating .

Anomalies of lunar reckoning (Chapters 42–43)
These two chapters pick up where the previous section left off on examining the irregularities of the Moon creating a leap year as well as why, according to Bede, the Moon appears older than it actually is.

The Paschal table (Chapters 44–65)
This section explores different year cycles that include varying numbers of months and days, determining the year cycle of Christ's incarnation, Easter, and other moon cycles.

The Major Chronicle (Chapter 66)
Bede gives an exhaustive description of the Six Ages of the World. The "Major Chronicle" is the starting point for several later chronicles, such as the Chronicon universale usque ad annum 741 and the Chronicon Moissiacense.

Bede details the First Age, from Adam to Noah, as being 1,656 years long according to the Hebrew Bible or 2,242 years according to the Septuagint.

The Second Age, from Noah to Abraham, is 292 years or 272 years long based on Bede's evaluation of the Hebrew Bible and Septuagint respectively.

The Third Age is said to be 942 years long according to both the Hebrew Bible and Septuagint spanning from Abraham to David.

The Fourth age is from David until the Babylonian exile. This is 473 years according to the Hebrew Bible or 485 according to the Septuagint.

The Fifth age is from the Babylonian exile to the advent of Christ.

The Sixth age is the current age lasting from the advent of Christ until the end of days.

Prophecy (Chapters 67–71)
Finally, Bede goes on to discuss the end of the Sixth Age, the Second Coming of Christ, the Antichrist, and Judgement Day, and the Seventh and Eighth ages of the world to come.

See also

 Easter controversy
 Ēostre
 Germanic calendar

Notes

References
 Jones, Charles W., ed. De temporum ratione, in Bedae opera de temporibus, Cambridge, Massachusetts: The Mediaeval Academy of America, 1943.
 Jones, Charles W., ed. De temporum ratione, in Bedae opera didascalia 2, Corpus Christianorum Series Latina, 123B, Turnhout: Brepols, 1997.
 Wallis, Faith, trans. Bede: The Reckoning of Time, Liverpool: Liverpool Univ. Pr., 1999/2004. .

External links
 De Temporum Ratione in Latin from Patrologia Latina.

Time in religion
Easter date
Calendars
Works by Bede
8th-century Latin books
725
8th century in England

The Reckoning of Time


The Life of Percy Bysshe Shelley is an unfinished posthumous biography of the Romantic poet Percy Bysshe Shelley that was written by his friend Thomas Jefferson Hogg. The first two of the four planned volumes were released in 1858 to largely unfavourable reviews. Though a few friends of Percy Shelley enjoyed the book, many critics attacked the book for being poorly edited and for portraying Shelley negatively. Though more volumes were planned, they were never published because of the Shelley family's objections to Hogg's treatment of him.

Origin

Hogg had previously published Shelley at Oxford in The New Monthly Magazine. This was a well-received account of the time they spent together at University College, Oxford. After he published this account, Mary Shelley suggested to him that he write a full biography of Percy Shelley. Hogg did not begin work on a biography for years, however, and Mary Shelley died before it was completed. He finally began the project after Percy Shelley's son Percy Florence Shelley also asked him to write a full account of his father's life. Hogg commenced work on the project in 1855.

Unlike the previous article Hogg wrote, this book covered periods of Shelley's life that Hogg had only learned about secondhand. The Shelley family helped him by providing Percy Shelley's papers to him for use in his research. Percy Shelley's sisters Helen and Margaret also contributed accounts of childhood memories involving their brother. Hogg was known for the strength and clarity of his memory, and was able to recall minor details from the time that he spent with Percy Shelley. The initial plan was to release a four-volume work and the first two volumes of the book were published in 1858 by Edward Moxon. The text of Shelley at Oxford was included in the work, and comprised roughly one sixth of the final document.

Themes
The book primarily discusses the activities and correspondence shared between Hogg and Shelley. It includes 44 letters that were exchanged between Hogg and Shelley in 1810 and 1811. The text of many of the letters was changed by Hogg before the book's publication. He made most of the changes to cover up his own youthful radicalism and his romantic pursuit of Percy's sister Elizabeth. The original text of many of the letters shows that Hogg was often unstable and relied on Percy Shelley for guidance. The changes that were made often misled future biographers, although Hogg did preserve the originals as well.

Hogg did not express much admiration for Shelley's poetry in the book. Many readers inferred from his description of Shelley that Hogg viewed him as a lady's man who was often irresponsible. Another irritation to many was that Hogg often boasted about himself in the book. He attempted to present himself as a sober and serious friend to an often foolish Percy Shelley. The book contained many descriptions of Shelley breaking appointments, borrowing money that he could not repay, and fabricating odd stories. Hogg did not mention the atheism that he shared with Percy Shelley, fearing the effect that this disclosure could have on his reputation. He went to great lengths in the book to portray himself as conservative and loyal to the traditions of England.

Hogg was careful not to divulge potentially embarrassing information about Shelley's living friends, however. He also failed to mention his own passion for Harriet Shelley, Percy Shelley's first wife. Harriet was portrayed very favourably in the book, although Hogg did discuss her preoccupation with suicide. Percy's father Timothy Shelley was portrayed very negatively, and the book characterized Percy Shelley as often disdainful towards his parents.

Reception
Soon after it was released, the book was panned by critics. One of the frequently mentioned problems with the book was that it lacked the extensive editing that his previous article about Shelley had been given. Critics viewed his larger work as often digressive and full of tangents, and some lamented the significant amount of space that Hogg devoted to describing the meals that they ate together. Others pointed out that the book did not contain the novel insights about Shelley and his poetry that Shelley at Oxford had delivered. Shelley's family was surprised to read the depictions of the young Percy Shelley and some of the accounts greatly upset them.

A few of Mary Shelley's friends and relatives believed that felt that the positive description of Harriet caused Mary to look bad for drawing Percy Shelley away from her. Leigh Hunt was particularly critical of the book, but some have suggested that his critical tone may have been because of his portrayal in the book. Edward John Trelawny, however, spoke very positively of the book. Thomas Love Peacock also enjoyed the book, but thought it should have been described as Hogg's autobiography. Some other commentators have noted that the book does portray Shelley as a very likeable person.

After reading the first two volumes, the Shelley family asked Hogg to provide them with his next volumes for pre-release editing. Hogg declined, however, and they revoked the documents about Percy Shelley that they granted to him for his research. Though Hogg had already started writing a third volume, it is generally believed that he never completed the work. Some have speculated that a manuscript of the last two volumes was completed but never discovered.

References

Bibliography

1858 books
Biographies about writers
British biographies
Books about Percy Bysshe Shelley

The Life of Percy Bysshe Shelley


Easington is a small village and civil parish in the East Riding of Yorkshire, England, in the area known as Holderness. A coastal settlement, it is situated between the Humber estuary and the North Sea at the south-eastern corner of the county, and at the end of the B1445 road from Patrington. The coastal town of Withernsea is approximately  to the north-east.

The civil parish is formed by the village of Easington and the hamlets of Kilnsea, Out Newton and Spurn Head. Bull Sand Fort is administered as part of the parish.
According to the 2011 UK Census, Easington parish had a population of 691, a small decrease on the 2001 UK Census figure of 698.

The parish church of All Saints' is a Grade I listed building.

In 1823 the ecclesiastical parish incumbency was a perpetual curacy under the patronage of the Archbishop of York. The parish had a population of 488, with occupations that included a butcher, a corn miller, a weaver, two blacksmiths, two wheelwrights, two grocers, three shoemakers, four tailors, twelve farmers, two schoolmasters, a land surveyor, a yeoman, and the landlord of the Granby's Head public house. There were two carriers who operated between the village and Hull weekly.

Many years ago, the parish of Easington included Turmarr, Hoton, Northorpe, Dimlington, Old Kilnsea and Ravenser. These villages have been lost to the ever-encroaching sea, and some had disappeared as early as 1400.

The thatched tithe barn is recorded in the National Heritage List for England as a Grade II* listed building, having been designated in 1987.

Easington is significant for being the birthplace of the Anglo-Canadian poet and literary scholar, Robin Skelton (1925–97).

Gas terminal

Easington is the site of a large natural gas terminal, Easington Gas Terminal, consisting of two terminals owned and operated by BP: Centrica Storage which processes and stores gas offshore; and Gassco, operating the Norway to UK Langeled pipeline. In October 2022, Centrica announced that the undersea Rough natural gas storage facility, closed since 2017, was ready for partial re-opening. Since December 2022 the terminal pumps gas to and from the facility, which acts as a reservoir to manage seasonal trends in the supply and demand of gas in the UK.

References

External links

 Easington Parish Council

Villages in the East Riding of Yorkshire
Holderness
Civil parishes in the East Riding of Yorkshire
Populated coastal places in the East Riding of Yorkshire

Easington, East Riding of Yorkshire


The Rowans, also known as The Rowan Brothers, are an American country-rock group, originally formed by the brothers Chris Rowan and Lorin Rowan. They were joined by another brother, Peter Rowan, for their second, third and fourth album. Chris and Lorin were still playing together in 2019 at the Trident in Sausalito, CA.

Early years
Chris and Lorin were raised close to Boston, but in the beginning of 1970, they moved to the West Coast to pursue their music. In 1971, they opened for Grateful Dead as their first gig in San Francisco. Their first album, The Rowan Brothers, was issued on Columbia Records.  It was very well critically acclaimed, except by Lester Bangs who savaged the LP in a Creem magazine review. The album included such guests as Jerry Garcia and Bill Kreutzmann of Grateful Dead and was co-produced by David Grisman.

Part of a 1971 rehearsal by the Rowan Brothers at the Fillmore West auditorium is included in the documentary film Fillmore.

Trio with Peter Rowan
The group had problems after the first record because their benefactor, Clive Davis, lost his job at Columbia. They were signed to Asylum Records as The Rowans and issued their next album in 1975, this time joined by their more famous brother, Peter Rowan, who brought in such hits as "Midnight Moonlight" and "Thunder on the Mountain". After releasing three albums as a trio, Peter left the group to pursue bluegrass music.

Duo again
Chris and Lorin have continued playing as a duo, with Peter joining them from time to time. Their project, Now and Then, was issued in 2004 on BOS Music. They also play regularly with David Gans in the Beatles tribute band Rubber Souldiers. In 2002, Chris and Lorin added harmonies on 9 cuts of Bay Area country rocker J.C. Flyer's album, Movin' On.

Discography

Chris and Lorin
 The Rowan Brothers (1972)
 Livin' the Life (1980)
 Now and Then (2004)

Chris, Lorin and Peter
 The Rowans (1975)
 Sibling Rivalry (1976)
 Jubilation (1977)
 Crazy People (2002)

Peter Rowan & The Rowan Brothers
 Tree on a Hill (1993)

Notes

Living people
Musical groups from Boston
Sibling musical trios
American country rock groups
Progressive bluegrass music groups
American folk rock groups
Year of birth missing (living people)

The Rowans


Jacqueline Maria Dias is a nurse and professor of nursing from Karachi, Pakistan.

Education
She did her Diploma in Nursing at the Aga Khan University's School of Nursing in 1985. She then worked at the Aga Khan University Hospital for a few years. She proceeded abroad for a Bachelor of Science in Nursing degree in Canada. In 1991, she graduated summa cum laude from McMaster University. She returned to Pakistan to continue to work at the University. In 1996 she was awarded the Anne Marie Schimmel Scholarship, to pursue a degree in the UK. In 2000 she received a Master of Education degree in Educational Management, from the University of Wales. In 2013, she started work on a PhD from Ambrosiana University in Milan, Italy, which she completed in 2016. Later that year, Pakistan's first simulation center with mock operating rooms and patient manikins, the Centre for Innovation in Medical Education, was opened at the Aga Khan Hospital with Dias as its interim director.

Career
Dias has served the Aga Khan University as an Assistant Professor of Nursing and Director of the Bachelor of Science in Nursing programme.  Since 2004, she has held the Nurudin Jivraj Professorship of Nursing.

In her 2004 keynote address to the First Midwifery Symposium on "Updates in Midwifery", Dias suggested that upgrading the status of midwives would have a positive impact on the high rate of complications during delivery.

She has been an active participant in the School of Nursing and Midwifery's Curriculum Committee and has twice served as Chair of the committee.

Her contribution has been immense in the standardization of professional nursing examinations, workshops and short courses, and faculty development programmes for curriculum enhancement, assessment and examinations. She has been convener of the Higher Education Commission of Pakistan and Pakistan Nursing Council's Curriculum Committee, which led the team that produced the revised national curriculum for nursing. Dias has also worked with the Nursing Council on the National BScN curriculum, as well as assisting the Sindh Examination Board in meeting international standards.

Dias has been a member of the team that set up the BScN curriculum for Al-Baath University in Syria. She has also contributed technical input into the nursing curriculum in Afghanistan.

Since 2010, Dias has been pioneering the application of e-learning methodology for the delivery of online courses and restructuring of pedagogical methods. In 2011, she initiated the establishment of the Assessment and Examination Cell for the School of Nursing and Midwifery. She has also done research in the evaluation of teaching in nursing education.

In 2013, the Aga Khan University School of Nursing and Midwifery introduced a 'Care of the Elderly' course, designed to provide training in geriatrics to nursing students for the first time in Pakistan. An important step for the growing older population. Dias, as the director of the BSc Nursing program, is responsible for the implementation of the curriculum.

In 2013 Dias held a joint appointment with Aga Khan University's Department of Educational Development and the School of Nursing and Midwifery. She has had a profound impact on three decades of nursing students at the AKU.

In 2015, in connection with International Nurses and Midwives Day, as the keynote speaker at Ziauddin College of Nursing Dias pointed out the importance of adopting more modern approaches to recruitment, especially the need to provide opportunities for those who had received a diploma before the introduction of the standard curriculum in 2006. She pointed out that at 1:3, the ratio of nurses to doctors in Pakistan needed to be reversed.

In 2019 she took up a position as Associate Professor and Chair of the Department of Nursing at the University of Sharjah.

Award
In 2013, the Aga Khan University Award of Excellence in Education was presented to Dias by the Chancellor, the Aga Khan. The award is for her leadership of baccalaureate education at the School and in Pakistan.
The citation reads "recognizes and honours publicly faculty who have made outstanding contributions to education, including contributions in curriculum and course design, evaluation of programmes and students, development of learning resources, and teaching."

References

Pakistani Roman Catholics
Living people
Nursing educators
Pakistani women academics
Pakistani nurses
Pakistani people of Goan descent
Academic staff of Aga Khan University
Academics from Karachi
1965 births
People from Karachi

Jacqueline Maria Dias


Théodore-Agrippa d'Aubigné (, 8 February 155229 April 1630) was a French poet, soldier, propagandist and chronicler. His epic poem Les Tragiques (1616) is widely regarded as his masterpiece. In a book about his Catholic contemporary Jean de La Ceppède, English poet Keith Bosley has called d'Aubigné, "the epic poet of the Protestant cause," during the French Wars of Religion. Bosley added, however, that after d'Aubigné's death, he, "was forgotten until the Romantics rediscovered him."

Life
Born at the Château of Saint-Maury near Pons in present-day Charente-Maritime, his father was Jean d'Aubigné, who was involved in the 1560 Huguenot Amboise conspiracy to seize power by staging a palace coup, kidnapping King Francis II of France, and arresting his Catholic advisors. After the defeat of the plot, d'Aubigné's father strengthened his Calvinist sympathies by showing him, while they were passing through Amboise, the heads of the conspirators exposed on the scaffold, and instructing him not to spare his own head in avenging their deaths.

According to the poet's own account he knew Latin, Greek and Hebrew at six years of age, and he had translated the Crito of Plato before he was eleven.

After a brief residence, d'Aubigné was forced to flee from Paris to avoid arrest, but was captured and threatened with execution. Escaping through the intervention of a friend, he went to Montargis. In his fourteenth year he was present at the siege of Orléans, at which his father was killed.

In 1567 he made his escape from tutelage, and attached himself to the Huguenot army under Louis of Bourbon, Prince of Condé. Aubigné studied in Paris, Orléans, Geneva (under the tutelage of Theodore Beza) and Lyon before joining the Huguenot Henry of Navarre as both soldier and counsellor. After a furious battle at Casteljaloux, and suffering from fever from his wounds, he wrote Tragiques in 1577. He was in the battle of Coutras (1587), and at the Siege of Paris. His career at camp and court, however, was a somewhat chequered one, owing to the roughness of his manner and the keenness of his criticisms, which made him many enemies and severely tried the king's patience. In his tragédie-ballet Circe (1576) he did not hesitate to indulge in the most outspoken sarcasm against the king and other members of the royal family.

Henry's accession to the throne of France required his conversion to the Roman Catholic Church and Aubigné left his service to tend to his own Poitou estates, even though more moderate Huguenots welcomed King Henry's decree of religious toleration, the Edict of Nantes. However, d'Aubigné never entirely lost the favour of the King, who made him governor of Maillezais. d'Aubigné remained an uncompromising advocate of the Huguenot interests. The first two volumes of the work by which he is best known, his Histoire universelle depuis 1550 jusqu'à l'an 1601, appeared in 1616 and 1618 respectively.

When Marie de' Medici became regent following King Henry's assassination in 1610, she embraced the Counter-Reformation. The third volume was published in 1619, but, being still more free and personal in its attacks against the Monarchy than those which had preceded it, the book was banned and ordered to be burned by the executioner.

Aubigné was outlawed in 1620 and fled to Geneva where he lived for the rest of his life, though the Queen Mother arranged for a sentence of death to be recorded against him more than once for high treason. Aubigné devoted the period of his exile to study, and supervising the fortifications of Bern and Basel which were designed as a defence of the Republic of Geneva against the Crown of France.

During the 1627–1628 Siege of La Rochelle, the poet's eldest son and heir, Constant d'Aubigné, leaked the plans of King Charles I of England and the Duke of Buckingham to send an English fleet to aid the city's Huguenot rebels to Cardinal de Richelieu, the Minister of State to King Louis XIII of France. As a result, Constant d'Aubigné was disowned and disinherited by his father.

Legacy
His daughter, Madame de Villette, was born in 1584 at Mursay to Suzanne de Lusignan de Lezay; at an early age, on 22 October 1610, she married Benjamin Valois de Vilette in Maillezais.

Through Louise, the poet's grandson was Philippe, Marquis de Villette-Mursay, who became an Admiral in the French Navy and whose children were, to his outrage, converted to Catholicism by their cousin Madame de Maintenon in 1681.

Several years after being disowned by his father, Constant d'Aubigné was imprisoned by the Cardinal for corresponding with the English Court. During his imprisonment, Constant married Jeanne de Cardilhac, the daughter of his jailer. All of their children were baptized and raised in the Roman Catholic Church at their mother's insistence.

Constant d'Aubigné's daughter and the Poet's granddaughter, Françoise d'Aubigné, Marquise de Maintenon, became first the mistress and then the second wife to King Louis XIV of France.

The poet's great-granddaughter Françoise Charlotte d'Aubigné married Adrien Maurice de Noailles, the heir to
the Duke of Noailles, in 1698. Through Françoise, Agrippa d'Aubigné's descendants include Hélie, Duke of Noailles (born 1943), Adrienne de Noailles (1759–1807), who married the famous Marquis de Lafayette, and King Philippe of Belgium (born 1960).

The poet's younger son Theodore d'Aubigné (1613–1670) continued on the d'Aubigné line.

The members of the d'Aubigné family who remained Protestant eventually emigrated in the late 1680s and avoided the Monarchy's crackdown on Huguenots who remained in France. Later, by 1715, many of them had settled near Falls Church, Virginia, and had changed their name to Dabney.

Since the rediscovery of d'Aubigné and his poetry by the Romantics, the Huguenot soldier-poet has been translated from Middle French to Polish by Nobel Prize-winning poet Wisława Szymborska and has inspired the English-language poet Ezra Pound.

Literary and historical works
 Histoire universelle (1616–1618)
 Les Tragiques (1616)
 Avantures du Baron de Faeneste
 Confession catholique du sieur de Sancy
 Sa Vie à Ses Enfants

Les Tragiques
Written over some three decades, the alexandrine verse of this epic poem relies on multiple genres as well as stylistic familiarity with the work of the opposing, Catholic poets of the Pléiade, headed by Pierre de Ronsard. Divided into seven books, a number symbolic of the author's ultimate, apocalyptic intent, the Tragiques incorporates literary influence from classical sources, such as tragedy and satire, palpable in the first three books ("Les Misères", "Les Princes", and "La Chambre Dorée" respectively), before resorting to influence from genres like ecclesiastical history, martyrology and apocalypse in the creation of the remaining books ("Les Feux", "Les Fers", "", and "").

In the first of two liminal paratexts, the introduction "Aux Lecteurs," Aubigné endorses the account (also found in his autobiographical ), that the inception of the Tragiques came to him as an ecstatic vision during a near-death experience. In the second, "L'Auteur À Son Livre," d'Aubigné adopts the metaphor of father as author to name the text that follows (Les Tragiques) as a more pious son than the less religious works of his youth (c.f.: Le Printemps). The intent of the epic is subsequently spelled out as an attack against the Catholic poets of the Pléiade and their patrons in the midst of the religious wars.

Notes

References
 Linden, Paul, Voice and Witnessing in Agrippa d'Aubigné's Les Tragiques. Dissertation, Emory University, 2003.
 Fragonard, Marie-Madeleine, La pensée religieuse d'Agrippa d'Aubigné et son expression. Bibliothèque littéraire de la Renaissance 53 (Paris: Honoré Champion, 2004).
 Junod, Samuel, Agrippa d'Aubigné ou les misères du prophète, (Geneva: Droz), 2008.

External links

 Biography
 http://www.agrippadaubigne.org/
 Les Tragiques. (French Ebook PDF format, layout and fonts inspired by 17th century publications)

1552 births
1630 deaths
16th-century French poets
17th-century French poets
People from Charente-Maritime
House of Aubigné
Calvinist and Reformed poets
Christian poets
French knights
French Protestants
French military leaders
French people of the French Wars of Religion
French chroniclers
Huguenots
Writers from Nouvelle-Aquitaine
17th-century male writers
17th-century French historians
French male poets
French male non-fiction writers
French propagandists
16th-century memoirists
Baroque writers

Agrippa d'Aubigné


JLA: The Nail is a three-issue comic book mini-series published by DC Comics in 1998 under its Elseworlds imprint. The story, written and drawn by Alan Davis, is set in a parallel universe where Jonathan and Martha Kent's truck experiences a flat tire caused by a nail, which stops them from discovering a Kryptonian spaceship outside Smallville containing the baby Kal-El, negating Superman. It was later followed by a sequel, JLA: Another Nail, a three-issue mini-series published in 2004 which wrapped up several loose ends from the original mini-series, such as the war between the New Gods and the Green Lantern Corps and Oliver Queen's public betrayal of the Justice League.

The story's theme is set in the first paragraph:

For want of a nail the shoe was lost, for want of a shoe the horse was lost,  for want of a horse the knight was lost,  for want of a knight the battle was lost. So it was a kingdom was lost – all for want of a nail.

Plot

The Nail

Twenty-four years ago, farmers Jonathan and Martha Kent experience a flat tire on their truck caused by a nail, which stops them from discovering a Kryptonian spaceship containing the baby Kal-El. In the present day, the Justice League consists of Batman, Wonder Woman, Aquaman, the Flash, Hawkwoman, the Atom, Martian Manhunter and Green Lantern.

Journalist Perry White conducts an anti-metahuman propaganda campaign along with mayor of Metropolis Lex Luthor and deputy mayor Jimmy Olsen. After a battle with Amazo which resulted in the death of Hawkman, Oliver Queen (Green Arrow) became a bitter paraplegic who claims that the Justice League are aliens who are conspiring against humanity. Metahumans are eliminated or captured one by one: first the supervillains and then teams such as the Doom Patrol and the Outsiders.

The Joker liberates the prisoners in Arkham Asylum with energy-generating gauntlets which he uses to trap Batman and kill Robin and Batgirl. Catwoman attacks the Joker and frees Batman, who then damages the Joker's gauntlets and snaps his neck on live television as Arkham explodes. Batman retreats to the Batcave with Catwoman while the Joker's murder tarnishes the Justice League's reputation.

Metamorpho is brainwashed into killing the Thinker and Perry White and dies while trying to tell Martian Manhunter what happened. Green Lantern encounters the orbiting corpse of Adam Strange and discovers a force field around Earth that prevents anything from leaving the planet. The Flash saves Ra's al Ghul and the League of Assassins from an attack by Amazo while seeking the mastermind behind all of these events.

Wonder Woman is framed for the destruction of the White House. Riots erupt soon afterwards and Luthor takes control of the United States, using flying masked robots called the Liberators to enforce the law. The members of the Justice League are captured by the Liberators (who are shown to be Bizarro-like clones of Kal-El) until Batman, the Flash and the Atom are left.

Lois Lane, a journalist investigating the anti-metahuman propaganda campaign, suspects a conspiracy. At a metahuman research facility, Lois meets Dr. Lana Lang, who sends her to Smallville where the Kents help shelter escaped metahumans. Returning to Metropolis and discovering Luthor in an unresponsive fugue state, Lois confronts Jimmy, who reveals that LexCorp discovered Kal-El's empty spaceship and found traces of his DNA within it. Luthor used the alien DNA to create Bizarro clones and turn Jimmy into a Kryptonian-human hybrid. Metahumans have been imprisoned and harvested for their DNA in order to convert humans into Kryptonians and create a Kryptonian society ruled by Jimmy.

Batman, Batwoman (formerly Catwoman), the Atom, and the Flash free the captive Justice League members and destroy the Liberators, only to be confronted by a super-powered Jimmy. Jimmy defeats the League due to their inexperience with Kryptonian powers as the fight spreads to an Amish community. As Jimmy is about to kill Batman, he is stopped by a farmer who tries to reason with him; Jimmy unsuccessfully tries to incinerate the farmer with his heat vision.

The farmer is revealed to be Kal-El, who was found as a baby by an Amish couple and raised as their son. Jimmy attempts to persuade Kal to join him while his adoptive parents try to persuade him from getting involved in worldly affairs, but Kal refuses both of them, unable to ignore his conscience. Jimmy then kills Kal's adoptive parents in front of him with his heat vision and engages Kal in a fight. Despite the two of them being evenly matched, the stress of the fight causes Jimmy's DNA graft to fail and his body to disintegrate. With Jimmy and the Liberators defeated, the Justice League (without Batman, who resigns from the League after he is acquitted of the Joker's murder) regains public confidence with the help of its newest member: Superman.

Another Nail

A year earlier, Apokolips goes to war with New Genesis, and the Green Lantern Corps is dispatched to stem the loss of life. One Green Lantern is killed, and her power ring selects Big Barda as its new host. Barda and Mister Miracle manage to reverse the effects of a device designed to vaporize all matter within millions of light years, causing Darkseid to disintegrate into nothingness and be scattered across the universe instead. Hal Jordan (Green Lantern) reveals to the Justice League that the Central Power Battery on Oa is weakening. Oliver Queen (Green Arrow) is dying from injuries caused by Amazo in the same fight that claimed Hawkman's life.

Kal-El is adjusting to his new life as Superman, devoting himself full-time to heroics with little rest. During a mission in Peru with the Martian Manhunter, Superman's strength begins to fade as he tries to save a village from an attack by Despero and Evil Star. Kal takes a sabbatical and bonds with Jonathan and Martha Kent, as well as Lois Lane, as they create a new secret identity for him.

The members of the Justice League investigate various disturbances in spacetime. Batman, who continues to fight crime separately from the League along with Batwoman (formerly Catwoman), encounters Deadman, who reveals that demons are escaping Hell and invading Earth. Batman is then attacked by a demonically-powered Joker.

Using the resources of New Genesis and the Green Lantern Corps, Barda and Mr. Miracle discover that the disturbances are coming from an entity known as the Limbo Cell, an organism that feeds on all matter and energy. Superman attempts to fly a bomb into the cell's nucleus, but is left helpless when the cell absorbs his energy. As he is about to die, Kal is rescued and revitalized by Amazo, now equipped with Oliver Queen's brain. Queen sacrifices his life to detonate the bomb in the cell's nucleus. With the Limbo Cell destroyed, reality heals and the disturbances in space and time are repaired.

Batman descends into Hell and drags the Joker with him. As they fall into the abyss, the Joker is swept away by an unseen force while Batman is rescued by the spirits of Robin and Batgirl. Batman is able to put the past behind him and rejoins the Justice League.

Collected editions
The three issues of JLA: The Nail were collected into a trade paperback in 1998 by DC Comics and 1999 by Titan Books. The three issues of JLA: Another Nail were collected into a trade paperback in 2005 by DC Comics and Titan Books.

In October 2017, DC Comics released JLA: The Nail/Another Nail: Deluxe Edition, which reprinted both miniseries in one book.

Awards
In 1999, JLA: The Nail was nominated for an Eisner Award for Best Limited Series.

See also

 Bullet Points (comics)
 Butterfly effect
 Camel's nose

References

External links
 Annotations for The Nail #1, #2 and #3 by Jess Nevins

Comics about multiple time paths
DC Comics limited series
Elseworlds titles
Justice League titles
Superhero comics

JLA: The Nail series


Anemone thomsonii is a species of flowering plant in the buttercup family Ranunculaceae. It is a low to high (7–70 cm) geophyte with finely divided leaves from the ground, and a stem that carries one flower, which has about twenty sepals, that are white or light pink inside and mostly have a very wide purple stripe at the outside. The species is limited to the highlands of East Africa.

Description
Anemone thomsonii is a geophyte with a short and stout rhizome. The leaves at the base are 3–40 cm, usually totally split into three, each of which is again split into three, and this is repeated a third time so that one leaf is composited of about twenty seven lobes, each of which itself is more or less deeply incised, resulting in narrow segments. The lower surface of the leaves is more or less hairy. The stems are 7–70 cm high and have silky hairs pressed to the surface of the stem, particularly near the tip. The bract is well below the flower, small and ones incised. The only flower at the tip of the stem is 2½–6½ cm in diameter. The sepals are white or white tinged with pink on the inner surface, while the outer surface is often pink, red, or purple. The many, single carpels, and the single-seeded, dry and indehiscent fruits (called achenes), that they develop into, are covered in dense silky hairs. The style is short and hairless, and under 1 mm long when the fruits are ripe.

Taxonomy
Anemone thomsonii was first described by Daniel Oliver in 1885, based on a specimen that was collected by Joseph Thomson during his 1883-1884 mission to Mount Kilimanjaro and the Aberdare Range, and now resides at the Kew Herbarium. There are currently no recognized synonyms.

Etymology
The species was named to commemorate Joseph Thomson's successful 1883-1884 plant collecting mission.

Distribution
Anemone thomsonii is known from the highlands of East-Africa, including Mount Hanang and the Kilimanjaro in Tanzania, and the Aberdare Range and Mount Kenya in Kenya.

References

thomsonii
Plants described in 1885
Flora of East Tropical Africa
Taxa named by Daniel Oliver

Anemone thomsonii


Erland Kops (14 January 1937 – 18 February 2017) was a badminton player from Denmark who won numerous major international singles and doubles titles from the late 1950s to the early 1970s.

Early life
Kops was born in 1937. His uncles were the boxers Ebbe and Poul Kops who both competed at the Summer Olympics. Erland Kops began to play badminton in Københavns Badminton Klub in 1948. He worked for East Asiatic Company in Thailand from 1958 to 1960.

Career
In 1958, Erland Kops brought an end to eight years of dominance of by Malayan players at the All England Badminton Championships by winning its Men's Singles event. Kops was also among the first Westerners to win major singles titles in the Far East. He combined abundant speed, power, and stamina with impressive shot-making virtuosity. Despite some disappointing results in the late rounds of Thomas Cup (men's international team) competition, Kops was clearly the dominant tournament men's singles player and one of the dominant men's doubles players of his era.

He is one of the most successful players ever in the All England Open Badminton Championships, with 11 titles between 1958 and 1967 - 7 of them in men's singles and 4 in men's doubles - breaking the Irish player Frank Devlin´s record of six titles.

Erland Kops also won 5 times the Danish Championships in men's singles and 4 in men's doubles. In the Nordic Championships, Erland Kops obtained the title 5 times in the men's singles category, 3 times in men's doubles and 2 more times in mixed doubles.

Kops played 44 national matches for Denmark from 1957-1972.

With no surprise, Erland Kops was among the first group of badminton players inducted into the World Badminton Hall of Fame in 1997, and was the first player to be inducted into the Hall of Fame of the Badminton Europe Confederation (BEC) in 2013.

As a recognition for his sporting achievements, Erland Kops has been honoured with a knighthood from the Danish Queen, an Honorary Membership of The Danish Sports Federation, an Honorary Membership of Badminton Denmark, the Herbert Scheele Trophy from the Badminton World Federation, and being inducted to the Hall of Fame of Danish Sport, as well as being elected the second best Sportsman in Denmark of the 20th century.

All England performance

In 1957, Erland Kops lost the final to the Malayan player Eddie B. Choong, but one year later he defeated Finn Kobberø in the final. In 1959, Tan Joe Hok - from Indonesia - won the championship, then, Erland Kops won it from 1960 to 1963. Finally, Erland Kops won it again two more times in 1965 and 1967. In men´s doubles, Erland Kops won the competition teaming up with Poul-Erik Nielsen in 1958 and together with Henning Borch from 1967 to 1969. Kops lost three finals in men's doubles - in 1961 and 1964 together with Poul-Erik Nielsen and against Jorgen Hammergaard / Finn Kobberø, and in 1965 with the Malaysian Oon Choong Jin and against Ng Boon Bee and Tan Yee Khan.
 1958: Champion - vs Finn Kobberø (Denmark)
 1960: Champion - vs Charoen Wattanasin (Thailand)
 1961: Champion - vs Finn Kobberø (Denmark)
 1962: Champion - vs Charoen Wattanasin (Thailand)
 1963: Champion - vs Channarong Ratanasaengsuang (Thailand)
 1965: Champion - vs Tan Aik Huang (Malaysia)
 1967: Champion - vs Tan Aik Huang (Malaysia)

Achievements

International tournaments

Men's singles

Men's doubles

Mixed doubles

References

External links
Erland Kops's Profile - Badminton.dk

1937 births
2017 deaths
Danish male badminton players
Sportspeople from Copenhagen
Indian national badminton champions

Erland Kops


Arthur D. Levinson (born March 31, 1950) is an American businessman and is the current chairman of Apple Inc. (2011–present) and CEO of Calico (an Alphabet Inc. venture). He is the former chief executive officer (1995–2009) and chairman (1999–2014) of Genentech.

In addition to serving on the board of Apple Inc. (2000–present), Levinson serves on the board of directors of the Broad Institute (affiliated with MIT and Harvard). Previously, Levinson had served on the board of directors at F. Hoffmann-La Roche (2010–2014), NGM Biopharmaceuticals (2009–2014), and Amyris Biotechnologies (2009–2014). He currently serves on the Board of Scientific Consultants of the Memorial Sloan Kettering Cancer Center, the Industrial Advisory Board of the California Institute for Quantitative Biosciences (QB3), the advisory council for the Princeton University Department of Molecular Biology and the advisory council for the Lewis-Sigler Institute for Integrative Genomics.

Early life and education
Born to a Jewish family, the son of Malvina and Sol Levinson, he received his bachelor's degree from the University of Washington in Seattle in 1972 and his PhD in biochemistry from Princeton University in 1977.

Career
Levinson was a postdoctoral researcher with Nobel Prize winners J. Michael Bishop and Harold Varmus in the department of microbiology at the University of California, San Francisco, when Herb Boyer hired him to work at Genentech. Levinson joined Genentech in 1980 as a research scientist and became vice president of research technology in 1989; vice president of research in 1990; senior vice president of research in 1992; and senior vice president of research and development in 1993. Levinson became Genentech's chief executive officer in 1995 and chairman in 1999. Levinson received corporate leadership awards from the Irvington Institute and the National Breast Cancer Coalition in 1999.

Levinson was inducted into the Biotech Hall of Fame at the 2003 Biotech Meeting of CEOs. BusinessWeek named Levinson one of the "Best Managers of the Year" in 2004 and 2005, and Institutional Investor named him "America's Best CEO" in the biotech category four years in a row (2004–2007). Levinson served on the board of directors of Google from 2004 to 2009.

In 2006, Princeton University awarded Levinson the James Madison Medal for a distinguished career in scientific research and in biotechnology. Also in 2006, Barron's recognized Levinson as one of "The World's Most Respected CEOs", and  Louis Carter, CEO and founder of Best Practice Institute placed Levinson on its "25 Top CEOs" list upon approval of his Senior Executive Board. In 2008 Levinson was elected as a Fellow to the American Academy of Arts and Sciences and Glassdoor rated him as the "nicest" CEO of 2008 with a 93% approval rating.

In 2010, Levinson was honored with the Biotechnology Heritage Award from the Biotechnology Industry Organization (BIO) and the Chemical Heritage Foundation, and the Director's Award from the San Francisco Exploratorium.

Levinson has authored or co-authored more than 80 scientific articles and has been a named inventor on 11 United States patents.

On November 15, 2011, Levinson was named chairman of the board for Apple Inc., replacing Steve Jobs.

On September 18, 2013, Levinson was named CEO of Calico, a new company focusing on health and well-being. The company was created and funded by Google.

In 2014 he received the Alumnus Summa Laude Dignatus Award from the University of Washington, the highest honor bestowed upon a Washington graduate.

On October 3, 2014, Levinson received the National Medal of Technology and Innovation, the nation's highest honor for achievement and leadership in advancing the fields of science and technology.

In April 2016, Levinson was awarded the 2016 Distinguished Alumnus Award from the University of California, San Francisco for his contributions to the scientific community.

As of May 2021, he owns approximately 4.5 million Apple shares worth US$786 million.

In 2020 he received the Bower Award for Business Leadership of the Franklin Institute.

Personal life
He married Rita May Liff on December 17, 1978, they have two children and reside in the Seattle area. His son, Jesse Levinson, is currently CTO of Zoox.

See also
Breakthrough Prize in Life Sciences

References

1950 births
American computer businesspeople
Businesspeople in the pharmaceutical industry
Directors of Apple Inc.
Businesspeople from Seattle
Princeton University alumni
University of Washington alumni
Life extensionists
Biogerontologists
Living people
20th-century American Jews
Genentech people
American technology chief executives
American chairpersons of corporations
Alphabet Inc. people
University of California, San Francisco alumni
American transhumanists
21st-century American Jews
Benjamin Franklin Medal (Franklin Institute) laureates

Arthur D. Levinson


Hawthorne School District is a school district headquartered in Hawthorne, California, United States.

The district serves much of Hawthorne.

Zoned schools

Zoned middle schools
 Bud Carson Middle School
 Hawthorne Middle School
 Prairie Vista Middle School

Zoned elementary schools
 Zela Davis Elementary School
 Eucalyptus Elementary School
 Jefferson Elementary School
 Kornblum Elementary School
 Ramona Elementary School
 Washington Elementary School
 York Elementary School

Associated high schools
Hawthorne Math and Science Academy is a charter high school in Hawthorne associated with the Hawthorne School District.

References

External links

School districts in Los Angeles County, California
Hawthorne, California

Hawthorne School District


Arthur Eric Rowton Gill  (22 February 1882 – 17 November 1940) was an English sculptor, letter cutter, typeface designer, and printmaker. Although the Oxford Dictionary of National Biography describes Gill as "the greatest artist-craftsman of the twentieth century: a letter-cutter and type designer of genius", he is also a figure of considerable controversy following the revelations of his sexual abuse of two of his daughters and of his pet dog.

Gill was born in Brighton and grew up in Chichester, where he attended the local college before moving to London. There he became an apprentice with a firm of ecclesiastical architects and took evening classes in stone masonry and calligraphy. Gill abandoned his architectural training and set up a business cutting memorial inscriptions for buildings and headstones. He also began designing chapter headings and title pages for books.

As a young man, Gill was a member of the Fabian Society, but later resigned. Initially identifying with the Arts and Crafts Movement, by 1907 he was lecturing and campaigning against the movement's perceived failings. He became a Roman Catholic in 1913 and remained so for the rest of his life. Gill established a succession of craft communities, each with a chapel at its centre and with an emphasis on manual labour as opposed to more modern industrial methods. The first of these communities was at Ditchling in Sussex, where Gill established the Guild of St Joseph and St Dominic for Catholic craftsmen. Many members of the Guild, including Gill, were also members of the Third Order of Saint Dominic, a lay division of the Dominican Order. At Ditchling, Gill and his assistants created several notable war memorials including those at Chirk in north Wales and at Trumpington near Cambridge, along with numerous works on religious subjects.

In 1924, the Gill family left Ditchling and moved to an isolated, disused monastery at Capel-y-ffin in the Black Mountains of Wales. The isolation of Capel-y-ffin suited Gill's wish to distance himself from what he regarded as an increasingly secular and industrialised society, and his time there proved to be among the most productive of his artistic career. At Capel, Gill made the sculptures The Sleeping Christ (1925), Deposition (1925), and Mankind (1927). He created engravings for a series of books published by the Golden Cockerel Press considered among the finest of their kind, and it was at Capel that he designed the typefaces Perpetua, Gill Sans, and Solus. After four years at Capel, Gill and his family moved into a quadrangle of properties at Speen in Buckinghamshire. From there, in the last decade of his life, Gill became an architectural sculptor of some fame, creating large, high profile works for central London buildings, including both the headquarters of the BBC and the forerunner of London Underground. His mammoth frieze The Creation of Man was the British Government's gift to the new League of Nations building in Geneva. Despite failing health Gill was active as a sculptor until the last weeks of his life, leaving several works to be completed by his assistants after his death.

Gill was a prolific writer on religious and social matters, with some 300 printed works including books and pamphlets to his name. He frequently courted controversy with his opposition to industrialisation, modern commerce, and the use of machinery in both the home and the workplace. In the years preceding World War II, he embraced pacifism and left-wing causes.

Gill's religious beliefs did not limit his sexual activity, which included several extramarital affairs. His religious views contrast with his deviant sexual behaviour, including, as described in his personal diaries, the sexual abuse of his daughters, an incestuous relationship with at least one of his sisters and also sexual experiments with a dog. Since these revelations became public in 1989, there have been a number of calls for works by Gill to be removed from public buildings and art collections.

Biography

Early life
Eric Gill was born in 1882 in Hamilton Road, Brighton, the second of the 13 children of the Reverend Arthur Tidman Gill and (Cicely) Rose King (died 1929), formerly a professional singer of light opera under the name Rose le Roi. Arthur Tidman Gill had left the Congregational Church in 1878 over doctrinal disagreements and became a minister of the Countess of Huntingdon's Connexion, a grouping of Calvinist Methodists. Arthur was born in the South Seas, where his father, George Gill, was a Congregational minister and missionary. Eric Gill was the elder brother of the graphic artist MacDonald "Max" Gill (1884–1947). Two of his other brothers, Romney and Cecil, became Anglican missionaries while their sister, Madeline, became a nun and also undertook missionary work. The film historian David Gill was a nephew.

In 1897, the family moved to Chichester, when Arthur Tidman Gill left the Countess of Huntingdon's Connexion, became a mature student at Chichester Theological College and joined the Church of England. Eric Gill studied at Chichester Technical and Art School, where he won a Queen's Prize for perspective drawing and developed a passion for lettering. Later in his life, Gill cited the Norman and medieval carved stone panels in Chichester Cathedral as a major influence on his sculpture. In 1900 Gill became disillusioned with Chichester and moved to London to train as an architect with the practice of W. D. Caröe, specialists in ecclesiastical architecture with a large office close to Westminster Abbey.

London 1900–1907
Frustrated with his architectural training, Gill took evening classes in stonemasonry at the Westminster Technical Institute and, from 1901, in calligraphy at the Central School of Arts and Crafts while continuing to work at Caröe's. The calligraphy course was run by Edward Johnston, creator of the London Underground typeface, who became a strong and lasting influence on Gill. For a year, until 1903, Gill and Johnston shared lodgings at Lincoln's Inn in central London.

During 1903, Gill gave up training in architecture to become a calligrapher, letter-cutter and monumental mason. After making a copy of a small stone tablet from Westminster Abbey, Gill's first public inscription was for a stone memorial tablet, to a Percy Joseph Hiscock, in Chichester Cathedral. Through a contact at the Central School, Gill was employed to cut the inscription for a tombstone at Brookwood Cemetery in Surrey. Other work quickly followed, including an inscription for Holy Trinity, Sloane Street, plus commissions from architects and private individuals, including Count Kessler. Kessler, on Johnston's recommendation, employed Gill to design chapter headings and title pages for the Insel Verlag publishling house. W.H. Smith & Son employed Gill to paint the lettering on the fascias of several of their bookshops including, in 1903, their Paris store. For a time, Gill combined this work with his job at Caröe's but eventually the scale and frequency of these commissions required him to leave the company. After Gill died, his brother, Evan, compiled an inventory of 762 inscriptions known to have been carved by him.

In 1904 Gill married Ethel Hester Moore (1878–1961), a former art student, later known as Mary, the daughter of a businessman who was also the head verger at Chichester Cathedral. Gill and Moore would eventually have three daughters and foster a son. After a short period in Battersea, the couple moved into 20 Black Lion Lane, Hammersmith in west London, near the, recently married, Johnstons' home on Hammersmith Terrace. A number of artists associated with the Arts and Crafts movement, including Emery Walker, T. J. Cobden-Sanderson and May Morris were already based in the area, as were a number of printing presses, notably the Doves Press. Gill formed a business partnership with Lawrence Christie and recruited a number of staff, including the 14-year old Joseph Cribb, to work in his studio. Gill began giving lectures at the Central School and taught courses in monumental masonry and lettering for stonemasons at the Paddington Institute. In 1905 he was elected to the Arts and Crafts Exhibition Society and joined the Fabian Society the following year. After a period of intense involvement with the Fabians, Gill became disillusioned with both them and the Arts and Craft movement. By 1907 he was writing and making speeches about the failures, both theoretical and practical, of the craft movement to resist the advance of mass-production.

In his diaries, Gill records two affairs while living at Hammersmith. He had a brief affair with the family maid while his wife was pregnant and then a relationship with Lillian Meacham, who he met through the Fabian Society. Gill and Meacham visited the Paris Opera and Chartres Cathedral together and when their affair ended, she became an apprentice in Gill's workshop and remained a family friend throughout her life.

Ditchling Village 1907–1913
In 1907, Gill moved with his family to Sopers, a house in the village of Ditchling in Sussex, which would later become the centre of an artists' community inspired by Gill. Although by April 1908 Gill had established a workshop in Ditchling and dissolved his business partnership with Lawrence Christie, he continued to spend considerable amounts of time in London visiting clients and delivering lectures, while his wife Ethel organised their household and smallholding in Sussex. 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. Gill continued to concentrate on lettering and inscriptions for stonework and employed a pupil for his signwriting business. He also began to use wood engraving techniques for his book illustration work, notably for a 1907 edition of Homer for Count Kessler.

Late in 1909 Gill decided to become a sculptor. Gill had always considered himself an artisan craftsman rather than an artist. 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. His first sculptures included Madonna and Child (1910), which the art critic Roger Fry described as a depiction of "pathetic animalism", and the almost life-size work now known as Ecstasy (1911). The models for Ecstasy were his sister Gladys Gill and her husband Ernest Laughton. The incestuous relationships between Gill and Gladys that continued during their lives had already begun at this point. There is also some evidence, from Gill's own writings, of an incestuous relationship with Angela, another of his sisters.

An early admirer of Gill's sculptures was William Rothenstein and he introduced Gill, who was fascinated by Indian temple sculptures, to the Ceylonese philosopher and art historian Ananda Coomaraswamy. Along with his friend and collaborator Jacob Epstein, Gill planned the construction in the Sussex countryside of a colossal, hand-carved monument in imitation of the large-scale structures at Gwalior Fort in Madhya Pradesh. Throughout the second half of 1910, Epstein and Gill would meet on an almost daily basis, but eventually their friendship soured very badly. Earlier in the year they had held long discussions with Rothenstein and other artists, including Augustus John and Ambrose McEvoy, about the formation of a religious brotherhood. At Ditchling, Epstein worked on elements of Oscar Wilde's tomb in Père Lachaise cemetery for which Gill designed the inscription before sending Joseph Cribb, who had moved to Ditchling in 1907, to Paris to carve the lettering.

Gill had his first sculpture exhibition in 1911 at the Chenil Gallery in London. Eight works by Gill were included in the Second Post-Impressionism Exhibition organised by Roger Fry at the Grafton Galleries in London during 1912 and 1913.

By 1912, while Gill's main source of income was from gravestone inscriptions, he had also carved a number of Madonna figures and was widely assumed, wrongly at that time, to be a Catholic artist. As such he was invited to an exhibition of Catholic art in Brussels and, on route, stayed for some days at the Benedictine monastery at Mont-César Abbey near Louvain. Gill's experiences at Louvain, seeing the monks at prayer and hearing plainsong for the first time convinced him to become a Roman Catholic. In February 1913, after religious instructions from English Benedictines, Gill and Ethel were received into the Catholic Church and Ethel changed her name to Mary.

Westminster Cathedral 1914–1918

In 1913, after Gill and his wife became Roman Catholics they moved to Hopkin's Crank at Ditchling Common, two miles north of Ditchling village. There, Gill worked primarily for Catholic clients, notably his 1914 commission for the 14 stations of the cross in Westminster Cathedral. Gill was a surprising choice for the commission as he had only recently become a Catholic and had only been a sculptor for three years. However he was prepared to do the work quicker and for a lower fee than more established sculptors would. Gill modelled both the Christ figure in panel ten and a soldier in the second panel on himself. The Stations were not universally well received when they were erected with criticism of their simple appearance and how starkly they contrasted with the rest of the cathedral interior. A minority, that eventually included Nikolaus Pevsner, praised their uncluttered design and unsentimental treatment of the subject. They are now considered among Gill's most accomplished large scale works. Subsequently, Gill submitted proposals for decorations and works in other parts of the Cathedral building and, eventually, his design for the Chapel of Saint George and the English Martyrs was commissioned.

Gill had been granted exemption from military service while working on the Stations of the Cross and when they were finished spent three months, from September 1918, as a driver at an RAF camp in Dorset, before returning to Ditchling.

Ditchling Common 1918–1924
After World War I, together with Hilary Pepler and Desmond Chute, Gill founded a guild association to promote the ideals of medieval, or pre-industrial, craft production, the Guild of St Joseph and St Dominic at Ditchling. The Guild's emphasis was on manual labour as opposed to more modern industrial methods, such that they did not use mechanised tools and considered craft working a form of holy worship. All members of the Guild were Catholics and most, including Gill, were also members of the Third Order of Saint Dominic, a third order of the Dominican Order. Lay members were not expected to follow the Dominicans' daily Liturgy of the Hours, a schedule of prayers from the Angelus at 6am to Compline at 9pm, but the group at Ditchling, unusually, did so. A chapel, designed by Gill, was built in the centre of the Guild's workshops and a wooden cross, with a Christ figure carved by Gill, was erected on a nearby hill. Gill had also taken to wearing a habit, often with a symbolic cord of chastity added. In his family home, Gill determined that the household was to be free of modern appliances, with no bathroom, water drawn by a pump and cooking done on a log fire. One guest who brought a typewriter into the house was scolded for doing so. The children did not attend school.

Alongside the Guild, Pepler set up the St Dominic's Press with a 100-year old Stanhope press that he bought. The Press printed books and pamphlets promoting the ideals of the Guilds' traditional craft techniques and also provided an outlet for Gill's engravings and woodcut illustrations. Gill and Pepler together produced issues of The Game, a small journal, mostly illustrated by Gill and containing articles on craft and social matters. The views promoted by Gill and Pepler in The Game and their other publications were often deliberately provocative, anti-capitalist and opposed to industrialisation.

Along with his Guild work and illustrations, Gill designed several war memorials in this period. These included the Trumpington War Memorial in Cambridgeshire, the Chirk War Memorial in north Wales, the memorial at Ditchling, and the wall panel recording 228 names of the fallen in the ante-chapel at New College, Oxford. Gill also created the memorial at Briantspuddle in Dorset and, with Chute and Hilary Stratton, the monument at South Harting. Beside the main entrance to the British Museum, Gill designed and carved, with Joseph Cribb, the memorial inscription to the museum staff killed in the conflict and for the Victoria and Albert Museum, again with Cribb, he created the war memorial in that museum's entrance hall. Previously, in 1911, Gill had cut the inscription for the foundation stone of the British Museum's new King Edward VII building. Gill's other significant work from this period was the Stations of the Cross that he carved, with Chute, for the Church of St Cuthbert in the Manningham area of Bradford.

Commissioned to produce a war memorial for the University of Leeds, Gill produced a frieze depicting the Cleansing of the Temple but showing contemporary merchants as the money-changers Jesus was driving from the Temple. While fully aware that this was an inappropriate subject for a war memorial and one likely to cause great offence in a commercial centre such as Leeds, Gill persisted with the design regardless. The cartoon-like nature of the finished frieze, which included the Hound of St Dominic knocking over a cash till, only added to the ferocity of the resulting uproar.

Even before the Leeds memorial controversy, Gill's series of illustrations that included the Nuptials of God, The Convert and Divine Lovers and his views on the sexual nature of Christianity were causing alarm within the Roman Catholic hierarchy and distancing Gill from other members of the Ditchling community. The series of life-drawings and prints of his daughters, including Girl in Bath and Hair Combing done at Ditchling, were considered among Gill's finest works. The sexual abuse Gill was perpetrating on his two eldest daughters during the same period only became known after his death.

A number of professional craft workers joined the community, such that by the early 1920s the community had grown to 41 people, occupying several houses in the 20 acres surrounding the Guild's chapel and workshops. Notable visitors to the Common included G. K. Chesterton and Hilaire Belloc, whose Distributist ideas the Guild followed. Some young men who had been in combat in World War I came to stay for longer periods. These included Denis Tegetmeier, Reginald Lawson and the artist and poet David Jones, who was to become engaged for a time to Gill's second daughter, Petra.

However, Gill became disillusioned with the direction of the Guild and fell out badly with his close friend Pepler, partly over the latter's wish to expand the community and form closer ties with Ditchling village and also because Gill's daughter, Betty, wanted to marry Pepler's son, David. Gill resigned from the Guild in July 1924 and, after considering a number of other locations in Britain and Ireland, moved his family to a deserted monastery in the Black Mountains of Wales.

Capel-y-ffin 1924–1928

In August 1924, the Gills left Ditchling and, with two other families, moved to a disused Anglican monastery, Llanthony Abbey, at Capel-y-ffin in the Black Mountains of Wales. The dilapidated building was high in an isolated valley about fourteen miles from Abergavenny. Finding the monastery chapel beyond repair, a new one was quickly built and a Benedictine monk from Caldey Abbey was assigned to the group to hold a daily Mass. Donald Attwater arrived at Capel-y-ffin shortly before the Gills, David Jones and René Hague, Joan Gill's future husband, all joined shortly after. Joseph Cribb did not make the move to Wales but his younger brother, Lawrence Cribb (1898–1979), did and eventually became Gill's main assistant.

Within a few weeks of arriving at Capel-y-ffin, Gill completed Deposition, a black marble torso of Christ, and made The Sleeping Christ, a stone head now in Manchester City Art Gallery. In 1926 he completed a sculpture of Tobias and Sara for the library of St John's College, Oxford. A war memorial altarpiece in oak relief for Rossall School was completed in 1927.

When approached, in 1924, by Robert Gibbings to produce designs for the Golden Cockerel Press which he and his wife, Moira, had recently acquired, Gill initially refused to work with the couple as they were not Catholics. Gill changed his mind when they sought to publish a volume of poems by his sister Enid. The relationship between Gill and the Gibbingses grew such that throughout the following ten years Gill became the chief engraver and illustrator for the Golden Cockerel Press. Several of the resulting books, including The Song of Songs (1925), Troilus and Criseyde (1927), The Canterbury Tales (1928), and The Four Gospels (1931) are considered classics of specialist book production. Gill created striking designs that unified and integrated illustrations into the text and also created a new typeface for the Press. 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. The Golden Cockerel printed four of Gill's own books and he illustrated a further thirteen works for the press. In addition, between 1924 and his death, Gill wrote 38 books and illustrated a further 28.

The other key working relationship Gill established while at Capel-y-ffin was with Stanley Morison, the Typographic Advisor to the Monotype Corporation. Morison persuaded Gill to apply the skills and knowledge he had gained in letter cutting to fonts suitable for mechanical reproduction. It was at Capel that Gill designed the typefaces Perpetua (1925), Gill Sans (1927 onwards) and began work on Solus (1929). Gill Sans is considered one of the most successful type-faces ever designed and remains in widespread use.

While living at Capel-y-ffin, Gill spent many weekends at Robert and Moira Gibbings home in Waltham St Lawrence, enjoying the couple's unconventional and hedonistic lifestyle. He was also spending sizable amounts of time in Bristol with a group of young intellectuals centred around Douglas Cleverdon, a bookseller who published and distributed some of Gill's writings. From 1925 onwards, Gills' secretary, and mistress, was Elizabeth Bill. Bill owned a villa set in several acres in the French Pyrenees at Salies-de-Béarn and which the Gills often visited. The Gill family spent the winter of 1926–27 there, and which was where Gill did many of the engravings for Troilus and Criseyde. For the last months of 1927 he worked in a studio in London at Glebe Place in Chelsea creating the sculpture originally known as Humanity and now called Mankind. The work, a giant torso, was modelled by Angela Gill and shown at the Goupil Gallery in London, to considerable acclaim, before being purchased by the artist Eric Kennington. Some years later, Kennington offered the work to Whipsnade Zoo. The zoo refused the offer, and the work is now in the Tate collection but displayed at the Victoria and Albert Museum.

It had been too impractical to transport the stone for Mankind to Capel-y-ffin and it was clear that the site had become too remote and isolated for Gill's increasing commercial workload and by May 1928 he was seeking a new home for his family and workshops.

Pigotts, Buckinghamshire 1928–1934
In October 1928, the Gill family moved to Pigotts at 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. A chapel was fitted into one corner and licensed within six months for the saying of Mass.

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 London Electric Railway, the forerunner of London Underground. 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.

Art-Nonsense And Other Essays by Eric Gill was published in 1929 and marked the first commercial use of the 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. 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. Later that same year the diaries record what Gill called his 'experiments' with a dog. In September 1930 he was taken seriously ill with a variety of symptoms, including amnesia, and spent several weeks in hospital.

The following two years were among the most creatively accomplished of Gill's career, with several notable 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. For the Hague and Gill press he created the 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. Throughout 1931 and into 1932, Gill worked on Prospero and Ariel, and four other works for the BBC, on site in central London. Carving in the open air up on scaffolding in the middle of London further increased Gill's public profile. 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.

The Midland Hotel, Morecambe was built in 1932–33 by the London Midland & Scottish Railway to the Art Deco design of Oliver Hill and included 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. 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.

Jerusalem and Pigotts, 1934–1938

In 1934 Gill, with Lawrence Cribb, visited Jerusalem to work at the Palestine Archaeological Museum, now the Rockefeller Archaeological Museum. There they carved a stone bas-relief of the meeting of Asia and Africa above the front entrance, together with ten stone reliefs illustrating different cultures, and a gargoyle fountain in the inner courtyard. He also carved stone signage throughout the museum in English, Hebrew and Arabic.

Gill's two visits to Jerusalem had a profound impact on his state of mind. He became increasingly unhappy with the impact of humanity upon the world and also become convinced of his own role as one chosen by God to change society. Returning to England, Gill's mood of pessimism deepened with the death of his son-in-law, David Pepler, and he became increasingly antagonistic towards the Church and towards other artists. Paradoxically, alongside this despondent world view Gill dropped his long-standing opposition to the use of modern home comforts and appliances. A bathroom was installed at Pigotts, a chauffeur and a gardener were appointed and his secretaries were allowed to use typewriters. Religious observance was no longer expected of the workshop staff and among the additional apprentices and assistants Gill employed were a number of non-Catholics, including Walter Ritchie. Prudence Pelham, the daughter of the Earl of Chichester, became Gill's only female apprentice. During his career, Gill employed at least twenty-seven apprentices including his nephew John Skelton, Hilary Stratton, Desmond Chute, David Kindersley and Donald Potter.

Gill's 1935 essay All Art is Propaganda marked a complete reversal of his previous belief that artists should not concern themselves with political activity. He became a supporter of social credit and later moved towards a socialist position. In 1934, Gill contributed art to an exhibition mounted by the left-wing Artists' International Association, and defended the exhibition against accusations in The Catholic Herald that its art was "anti-Christian". Gill became a regular speaker at left-wing meetings and rallies throughout the second half of the 1930s. He was adamantly opposed to fascism, and was one of the few Catholics in Britain to openly support the Spanish Republicans. Gill became a pacifist and helped set up the Catholic peace organisation Pax with E. I. Watkin and Donald Attwater. Later, Gill joined the Peace Pledge Union and supported the British branch of the Fellowship of Reconciliation.

Gill was commissioned to produce a sequence of seven bas-relief panels for the façade of The People's Palace, now the Great Hall of Queen Mary University of London, which opened in 1936. In 1937, he designed the background of the first George VI definitive stamp series for the post office. In 1938 Gill was commissioned to create a mammoth artwork for the Palace of Nations building in Geneva, as the British Government's gift to the League of Nations. Gill's original proposal was to create a larger, international, version of the Moneychangers frieze that had caused such outrage in Leeds years earlier, but after objections from delegates to the League, submitted an alternative scheme. The Creation of Man flanked by Man's Gifts to God and God's Gifts to Man are three marble bas-reliefs in seventeen sections and constitute the largest single work Gill created during his career but are not considered among his finest works.

In 1935, Gill was elected an Honorary Associate of the Institute of British Architects and in 1937 was made a Royal Designer for Industry, the highest British award for designers, by the Royal Society of Arts, and became a founder-member of the RSA's Faculty of Royal Designers for Industry when it was established in 1938. In April 1937, Gill was elected an associate member of the Royal Academy. Quite why Gill was offered, let alone accepted, these honours from institutions he had openly reviled throughout his career is unclear.

Final works, 1939–1940

During 1938 and 1939 Gill designed his only complete piece of architecture, the Roman Catholic Church of St Peter the Apostle at Gorleston-on-Sea. He designed the building around a central altar which, at the time, was considered a radical departure from the Catholic practice of the altar being at the east end of a church.

Gill's final publications included Twenty-Five Nudes and Drawings from Life both of which included drawings of Daisy Hawkins, the teenage daughter of the Gills' housekeeper with whom Gill began an affair in 1937. The affair lasted two years during which time Gill drew her on an almost daily basis. When Hawkins was sent away from Pigotts, to the boarding house at Capel-y-ffin run by Betty Gill, Eric Gill followed her there to continue the relationship.

Among Gill's last sculptures were a series of commissions for Guildford Cathedral. He spent time between October and December 1939 working at Guildford, on scaffolding carving the figure of John the Baptist. He also worked on a set of panels depicting the stations of the cross for the Anglican St Alban's Church in Oxford, finishing the drawings three weeks before he died and completing nine of the pieces himself. For the Chapel of Saint George and the English Martyrs, in Westminster Cathedral, Gill designed a low relief sculpture to occupy the wall behind the altar. Gill's design showed a life-sized figure of Christ the Priest on the cross attended by Sir Thomas More and John Fisher. Gill died before the work was completed and Lawrence Cribb was tasked with finishing the piece by the Cathedral authorities who insisted he remove an element of Gill's original design, a figure of a pet monkey. When the chapel was eventually opened to the public this censorship of Gills' last work was a matter of some considerable controversy.

From the end of 1939 into the middle of 1940, Gill had a series of illnesses, including rubella, but managed to write his autobiography that summer. Gill died of lung cancer in Harefield Hospital in Middlesex on the morning of Sunday 17 November 1940 and, after a funeral mass at the Pigotts chapel, was buried in Speen's Baptist churchyard.

After Gill died an inventory of over 750 of his carved inscriptions was compiled, in addition to the over 100 stone sculptures and reliefs, 1000 engravings, the several typeface designs he created and his 300 printed works including books, articles and pamphlets.

Sexual abuse
Gill's personal diaries reveal his child sex abuse of his two eldest teenage daughters during their time at Ditchling Common, incestuous relationships with his sisters, and, in 1930, sexual acts on his dog. This aspect of Gill's life was little known beyond his family and friends until the publication of the 1989 biography by Fiona MacCarthy. A 1966 biography by Robert Speaight mentioned none of it. Gill's daughter Petra Tegetmeier, who was alive at the time of the MacCarthy biography, described her father as having "endless curiosity about sex" and that "we just took it for granted", and told her friend Patrick Nuttgens she was unembarrassed. The children were educated at home and, according to Tegetmeier, she was then unaware of how her father's behaviour would seem to others. Despite the acclaim the book received, and the widespread revulsion towards aspects of Gill's sexual life that followed publication, MacCarthy received some criticism for revealing Gill's incest in his daughter's lifetime. Others, notably Bernard Levin, thought she had been too indulgent towards Gill. MacCarthy commented:
after the initial shock, [...] as Gill's history of adulteries, incest, and experimental connection with his dog became public knowledge in the late 1980s, the consequent reassessment of his life and art left his artistic reputation strengthened. Gill emerged as one of the twentieth century's strangest and most original controversialists, a sometimes infuriating, always arresting spokesman for man's continuing need of God in an increasingly materialistic civilization, and for intellectual vigour in an age of encroaching triviality.

Despite MacCarthy's revelations, for several years Gill's reputation as an artist continued to grow but, following the exposure of other high-profile paedophiles, this changed with groups and individuals calling for the removal of works by Gill.

In 1998, a group, Ministers and Clergy Sexual Abuse Survivors, called for the Gill's Stations of the Cross to be removed from Westminster Cathedral, leading to a debate within the British Catholic press. There were calls for Gill's statue of St Michael the Archangel to be removed from St Patrick's Catholic Church in Dumbarton. In 2016, some residents in Ditchling objected to a proposal to erect a plaque by the village war memorial which would have identified Gill as the maker of the monument.
In January 2022, a man climbed the façade of Broadcasting House and damaged the statue of Prospero and Ariel with a hammer, while another man shouted about Gill's paedophilia. Nearly 2,500 people had previously signed a petition, on the website 38 Degrees, asking for the work to be removed. In May 2023 the statue was again attacked by a man wielding a hammer. Guildford Cathedral announced in February 2022 that it was considering a 'new interpretation' concerning Gill's statues of John the Baptist and of Christ on the Cross which are on their building. Several organisations, including Save the Children, resolved to stop using typefaces designed by Gill.

When, in 2017, the journalist Rachel Cooke contacted museums holding Gill's work to question what, if any, impact the abuse revelations had on their policy towards showing material by him, the majority refused to engage with her. A notable exception was the Ditchling Museum of Art + Craft, which holds many examples of Gill's work and also Gill family objects. Previously, in October 2016, the museum had held a workshop, Not Turning a Blind Eye, with artists, curators and journalists invited to discuss how to address Gill's behaviour in its exhibition programme. This resulted in a 2017 exhibition Eric Gill: The Body and a commitment by the museum to include at least one display highlighting Gill's offending in its permanent exhibitions. However in 2022, The Observer reported that it appeared that the museum had decided to reduce the prominence given to Gill's work among its exhibits.

Typefaces and inscriptions
In 1909, Gill carved Alphabets and Numerals for a book, "Manuscript and Inscription Letters for Schools and Classes and for the Use of Craftsmen", compiled by Edward Johnston. He later gave them to the Victoria and Albert Museum so they could be used by students at the Royal College of Art. In 1914, Gill had met the typographer Stanley Morison, who was later to become a typographic consultant for the Monotype Corporation. Commissioned by Morison, he designed the Gill Sans typeface in 1927–30. Gill Sans was based on the sans-serif lettering originally designed for the London Underground. Gill had collaborated with Edward Johnston in the early design of the Underground typeface, but dropped out of the project before it was completed. In 1925, he designed the Perpetua typeface for Morison, with the uppercase based upon monumental Roman inscriptions. An in-situ example of Gill's design and personal cutting in the style of Perpetua can be found in the nave of the church in Poling, West Sussex, on a wall plaque commemorating the life of Sir Harry Johnston. In the period 1930–31, Gill designed the typeface Joanna which he used to hand-set his book, An Essay on Typography.

Gill's other types include:
 Golden Cockerel Press Type (for the Golden Cockerel Press; 1929) Designed bolder than some of Gill's other typefaces to provide a complement to wood engravings.
 Solus (1929)
 Aries (1932)
 Floriated Capitals (1932)
 Bunyan (1934)
 Pilgrim (recut version of Bunyan; 1953)
 Jubilee (also known as Cunard; 1934)

These dates are not precise, since a lengthy period could pass between Gill creating a design and it being finalised by the Monotype drawing office team (who would work out many details such as spacing) and cut into metal. In addition, some designs such as Joanna were released to fine printing use long before they became widely available from Monotype.

One of the most widely used British typefaces, Gill Sans, was used in the classic design system of Penguin Books and by the London and North Eastern Railway and later British Railways, with many additional styles created by Monotype both during and after Gill's lifetime. In the 1990s, the BBC adopted Gill Sans for its wordmark and many of its on-screen television graphics.

The family Gill Facia was created by Colin Banks as an emulation of Gill's stone carving designs, with separate styles for smaller and larger text.

Gill was commissioned to develop a typeface with the number of allographs limited to what could be used on Monotype systems or Linotype machines. The typeface was loosely based on the Arabic Naskh style but was considered unacceptably far from the norms of Arabic script. It was rejected and never cut into type.

Published works

Gill published numerous essays on the relationship between art and religion, and a number of erotic engravings.

Gill's published writings include:
 Christianity and Art, 1927
 Art-nonsense and other essays, Cassell 1929 (pocket edition 1934)
 Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women, 1931
 An Essay on Typography, 1931
 Beauty Looks After Herself, 1933
 Unemployment, 1933
 Money and Morals, 1934
 Art and a Changing Civilization, 1934
 Work and Leisure, 1935
 The Necessity of Belief, 1935
 Work and Property, 1937
 Work and Culture, Journal of the Royal Society of Arts, 1938
 Twenty-five nudes, 1938
 And Who Wants Peace?, 1938
 Sacred and Secular, 1940
 Autobiography: Quod Ore Sumpsimus
 Notes on Postage Stamps
 Christianity and the Machine Age, 1940.
 On the Birmingham School of Art, 1940
 Last Essays, 1943
 A Holy Tradition of Working: passages from the writings of Eric Gill 1983.

Gill provided woodcuts and illustrations for several books including:

  Facsimile edition published by Christopher Skelton at the September Press, Wellingborough, 1987.

 The Passion of Our Lord Jesus Christ, according to the four evangelists. Hague & Gill Printers. 1934 Faber & Faber

Archive
Gill's papers and library are archived at the William Andrews Clark Memorial Library at UCLA in California, designated by the Gill family as the repository for his manuscripts and correspondence. Some of the books in his collection have been digitised as part of the Internet Archive. Additional archival and book collections related to Gill and his work reside at the University of Waterloo Library and the University of Notre Dame's Hesburgh Library. Much of Gill's work and memorabilia is held and is on display at the Ditchling Museum of Art + Craft.

References

Further reading

External links

 Biography of Gill on website of The Guild of St Joseph and St Dominic, with commentary on his 'unorthodox' interpretation of Catholicism
 Manuscript & Inscription Letters, Edward Johnston, 1909 (plates by Gill)
 Portraits of Gill in the National Portrait Gallery, London
 Portraits by Gill in the National Portrait Gallery, London
 Prints and drawings by Gill in the British Museum collection
 Twenty-five Nudes, Gill, 1938 (collected drawings)
 Troilus and Criseyde, Geoffrey Chaucer, translated by George Philip Knapp, 1932
 Works by Gill in the National Museum Wales collection (woodcuts by Gill)

1882 births
1940 deaths
20th-century British printmakers
20th-century English essayists
20th-century English sculptors
20th-century Roman Catholics
20th-century engravers
20th-century English diarists
Academics of the Central School of Art and Design
Alumni of the Central School of Art and Design
Alumni of the Westminster School of Art
Artists from Brighton
Arts and Crafts movement
Associates of the Royal Academy
British architectural sculptors
British erotic artists
British letter cutters
British stamp designers
Burials in Berkshire
Child sexual abuse in England
Converts to Roman Catholicism
Deaths from lung cancer in England
English anti-fascists
English graphic designers
English illustrators
English male sculptors
English pacifists
English rapists
English Roman Catholics
English sex offenders
English socialists
English typographers and type designers
English wood engravers
Incest
Monumental masons
People from Ditchling
Stone carvers
Zoophilia
Members of the Fabian Society
Lay Dominicans
English pamphleteers
Writers from Sussex

Eric Gill


Leyla Aliyeva (, born July 3, 1985) is the first daughter of the President of Azerbaijan, Ilham Aliyev. She is editor-in-chief of style magazine Baku.

Personal life

According to her personal website, Aliyeva was born in Moscow on 3 July 1985. However, her listing as a director at Companies House in London gives her date of birth as 1984. She studied at a private girls' school in London, Queens College; she left the school in 2000. She entered the European Business School.

From 2006 to 2008, Leyla Aliyeva pursued a master's degree at the Moscow State Institute of International Relations (MGIMO). She was the Chairwoman of the Azerbaijan Club at MGIMO until 2010.

In July 2011, the Taraggi (Progress) Medal was conferred upon Leyla Aliyeva for her contributions to the development of Azerbaijan-Russian relations.

Leyla is married to businessman and singer Emin Agalarov. She has twin sons, Ali and Mikail, who were born in 2008.

In 2010 Washington Post reported that Leyla along with her sister Arzu and brother Heydar own real estate in Dubai that is worth about US$75 million.

References

Other websites

 Official channel of Leyla Aliyeva on YouTube

1985 births
Living people
Azerbaijani journalists

Leyla Aliyeva


The Lincoln Memorial Tower or Lincoln Tower is a Gothic revival tower in Lambeth, London, housing small meeting rooms, that was opened in 1876 in memory of Abraham Lincoln, and paid for partly by Americans. Once part of a complex of nineteenth-century philanthropic institutions sited alongside a Congregational chapel, it is all that now remains of the original design. It is located at the corner of Westminster Bridge Road and Kennington Road close to Waterloo station and Lambeth North tube station in London, and is today a listed building associated with, and close to, Christ Church and Upton Chapel.

Origins

The Lincoln Tower is built on the site of an orphanage for females, founded in 1758. When the orphanage closed in the mid nineteenth century, its site was acquired by trustees of the Surrey Chapel on nearby Blackfriars Road, whose own chapel lease was due to expire. This larger site provided them with ample opportunity to fund-raise not only for a new Congregational chapel which they named Christ Church, but also for a large complex of ancillary buildings.

The pastor of Surrey Chapel at the time was the energetic Christopher Newman Hall who had lectured and written extensively in support of Abraham Lincoln and abolition of slavery during the American Civil War. He raised funds in America for a permanent International Memorial in London, to Abraham Lincoln, and incorporated this into plans for redevelopment of the former orphanage site.

The Lincoln Tower was opened on 4 July 1876, the centenary of American independence. The foundation stone had been laid two years earlier, on 9 July 1874, by the American ambassador, Robert C. Schenck. The two main rooms in the tower were named the Washington and the Wilberforce rooms.

Architecture and design
The original design by the architect E. C. Robins, developed in 1873, would have placed the tower and spire as an elevated structure above the centre of the new Congregational chapel. This was adapted in the final scheme by architects Paull and Bickerdike, who kept much of the original design and detailing of the building complex as a whole, but gave greater prominence to the Lincoln Tower. This became a stand-alone building with its own ground floor and entrances, though still integral to the complex. As more memorial funds were raised, the new architects, like E. C. Robins before them, added a lofty spire; raising the tower 200 feet high. The spectacular spire incorporated Robins' concept for an architectural version of 'stars and stripes' - the use of a polychromatic colour scheme of red and white stones.

On the Tower's north entrance, above the apex of a large archway, a stone was added bearing the title Lincoln Tower. Under the paved basement the coffin of preacher Rowland Hill was re-located from Surrey Chapel, with a tablet inset into the interior wall above. There was another tablet in memory of his successor, James Sherman, with a still larger tablet giving the name and purpose of the tower – to commemorate emancipation by the martyred Lincoln, the contribution of half the cost of the tower by American citizens, and as a pledge of international brotherhood.

The completed tower, built of Kentish Rag stone outside and Bath stone within, and modelled on a Gothic style, was widely regarded at the time as one of the best examples of steeple and tower architecture in south-central London.

Modern context

Much of the Christ Church complex was destroyed in the Second World War, although the Lincoln Tower survived. In the 1950s a large commercial office block, with an integral Congregational and Baptist chapel and community office space, was planned where the nineteenth-century Christ Church Congregational chapel and its school and meeting rooms (Hawkstone Hall) had stood.

Today, the complex, with its integral Christ Church and Upton Chapel form a modernist backdrop to the surviving Gothic Revival tower. The Lincoln Tower, as well as the chapel and adjoining community office space, are presently owned by United Reformed Church (as successors to the Congregationalists) and Baptists, and managed by Oasis Church Waterloo, part of the Oasis Trust charity. The chapel is also open as a cafe.

See also
Lincoln Memorial
Abraham Lincoln Memorial Garden
Abney Park Cemetery
List of buildings and monuments honoring presidents of the United States in other countries

References

External links
 Lincoln Tower, Kennington Road, Lambeth North
 Oasis Church Waterloo

Churches completed in 1876
Towers completed in 1876
Chapels in England
Churches in the London Borough of Lambeth
Grade II listed buildings in the London Borough of Lambeth
Congregationalism
Grade II listed churches in London
Monuments and memorials to Abraham Lincoln
Buildings and monuments honouring American presidents in the United Kingdom

Lincoln Memorial Tower