It certainly affects our enjoyment of that work – it’s as good as it was, but we bring something to it. She records that Gill kept meticulous diaries and it is only in these that the real Gill is revealed, since his Autobiography is, she says, ‘charmingly misleading’.

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. His mammoth frieze The Creation of Man was the British Government's gift to the new League of Nations building in Geneva. The incestuous relationships between Gill and Gladys that continued during their lives had already begun at this point. Gill continued to concentrate on lettering and inscriptions for stonework and employed a pupil for his signwriting business.

These sessions encouraged us to consider various contentious objects and the ethical dilemmas they raised, and from the moment they began it was obvious what potentially treacherous territory we were in. He began his work as an inscription artist, inscribing lettering on numerous buildings throughout Britain, especially in churches, graveyards, and institutions. In terms of what goes on behind closed doors, both now and then – a Hell of a lot more than we are aware of. It was at this point that Hepburn began believing that the museum – which does not currently tell its visitors about Gill’s abuse of his daughters – had a “responsibility” to be “more upfront” about certain facts.

Gill's design showed a life-sized figure of Christ the Priest on the cross attended by Sir Thomas More and John Fisher. 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.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. 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 had collaborated with Edward Johnston in the early design of the Underground typeface, but dropped out of the project before it was completed. 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.