Chapter Six considers the modernist sculptor Eric Gill’s highly unconventional family life, his interest in Indian art, and his connections with Decadent queer Catholicism in relationship to his preoccupation with the family as a site of divine eroticism. While Gill is often thought of as a “distinctly heterosexual” figure with a highly provincial vision, during the 1910s he affiliated himself with a authors and artists, including Katharine Bradley and Edith Cooper (“Michael Field”), whose nonnormative sexual identities were intertwined with their Catholic religious identity, and he exhibited a thirst for information about global artistic practices, writing frequently to the Ceylonese art historian Ananda Coomaraswamy and engaging extensively with Indian art. He found in Bradley and Cooper, who converted to Catholicism and wrote religious verse concerning their union, a model for conceiving of incestuous desire in divine terms. In his correspondence with Coomaraswamy concerning the treatment of eroticism in Hindu temple sculpture, he found models for the successful integration of faith and sensuality. This network of influences resulted in one of his most well-known works, They (or Ecstasy, 1910-11), an attempt to hallow incestuous desire and transform an extreme form of sexual dissidence into an expression of divine love.