The early twentieth century saw the rise of various movements and communities in response to a perceived crisis in a western modernity that many contemporaries viewed as decadent and in urgent need of social, cultural, and spiritual renewal. In Britain in particular, several groups of traditional artisans expressed their rejection of modernity by leaving the city to form small artistic communities. Such community experiments often had their roots in the nineteeth-century Arts and Crafts movement, a background shared by the founding (...) members of the community at Ditchling in Sussex — Eric Gill, Douglas (Hilary) Pepler, and Edward Johnston — but augmented by an increasing commitment to Roman Catholicism on the part of Gill and Pepler. The Ditchling group’s commitments to traditional handicrafts and the Church made their relationship to modernism tentative and difficult, but some members at least were familiar with artistic developments in the wider world. In particular, Eric Gill would reject modernism at Ditchling, while David Jones would embrace it to assert his artistic and spiritual independence. (shrink)