The article discusses the ongoing canonization process of Catalan architect Antoni Gaudi, highlighting his deep spirituality and the miraculous nature of his architectural works, especially the Sagrada Familia. Gaudi is described as martyr-like, having suffered an accident while absorbed in his creative thoughts. In contrast, the article criticizes Eric Gill, an artist known for his public works, whose actions, particularly regarding his daughters, overshadow his artistry. The protective measures taken by the BBC for Gill's sculpture reveal the moral complexities surrounding artists and their creations.
Gaudi's mission was to find spiritual meaning in a world transformed by industry and machines, of which the fatal tram might be considered a representative.
While it is true that great art can transcend the sins of its makers, in Gill's case there is too close a link between his evil as a person and his lubricious depictions of young nudes.
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