The article delves into contrasting narratives surrounding two prominent figures in art and architecture. The first narrative revolves around the potential canonization of the revered architect Antoni Gaudí, known for his devoutness, innovative designs like the Sagrada Família, and a tram accident that parallels martyrdom. Gaudí’s quest for spiritual meaning amidst industrialization is highlighted, painting his life’s work as almost miraculous.

In stark contrast, the article discusses the controversial artist Eric Gill, whose dark personal life, including allegations of raping his daughters, taints his creations found in churches and public spaces. The recent protective casing installed over his sculpture at Broadcasting House, post hammer attacks, raises questions about preserving art linked to reprehensible acts.

Shifting focus, the article touches on the enduring relevance of “The Great Gatsby” and parallels drawn to modern-day rhetoric on race and extremism. The fallacy of past apocalyptic predictions and the persistence of such fearmongering in contemporary discourse are scrutinized, urging reflection on unfounded anxieties.

Lastly, the article critiques the misrepresentation of a recent supreme court ruling on the definition of “woman” in the Equality Act 2010. Despite the court’s clear stance on its limited scope, the public discourse misinterprets and sensationalizes the judgment, emphasizing the need for accuracy and integrity in sensitive debates.

In essence, the article navigates complex themes of art, morality, societal fears, and legal clarity, prompting readers to contemplate the intersections of creativity, ethics, and truth in various contexts.