Two recent reviews of Mr. Eric Gill’s latest book, Art Nonsense, make us think that it is time Mr. Gill’s art was discussed from the point of view of his own writings and the Thomistic philosophy of which he professes to be so ardent a follower.

Few living artists enjoy the distinction of being the subject of special books; both Mr. Joseph Thorp and J.K.M.R. in Mr. A. Rutherston’s series of Contemporary British Artists have written with keen appreciation of Mr. Gill’s artistic achievements, illustrating their books with numerous reproductions of his sculpture and carving. Yet opinion as to the merits of his work is widely divergent. Whilst some admire it unreservedly, others dislike it as intensely. Undoubtedly the same divergence of opinion exists concerning all artists’ works, but in the given case the Artist who is at the same time a writer will help us to a correct appreciation of his work as judged by his own principles. And in fact it is not the writing but the work that matters, for, as Mr. Gill himself reminds us : ‘There are plenty of lying documents, and very great skill and judgment is required to use them. But works are infallible guides .... You may write an elaborate series of lies on paper, but your handwriting will betray you and show what manner of man you are.’ So we shall proceed with the examination of these ‘infallible guides’ in the light of Art Nonsense which one of its reviewers declares to ‘say the last word on matters which have long been spoken of in vain.’