The painting is OUTRAGED

Day 1, selective outrage; day 2, selective apologies.

The organisers of the Paris Olympics have apologised after a drag queen parody of Leonardo Da Vinci’s Last Supper featured in the opening ceremony.

What, did it get there because someone opened the wrong box? Was it supposed to be Vermeer’s Milkmaid or Van Gogh’s Sunflowers?

The tableau, which recreated the biblical scene of Christ and his apostles, included drag artists and a naked singer. It was heavily criticised by politicians and members of the Catholic Church.

Hang on. What does that mean? How does one “recreate” a biblical scene of anything? Paintings that illustrate bible stories are just that – illustrations. They’re not photographic records of historical events, they’re imaginative illustrations of imaginative stories.

Archbishop Vincenzo Paglia, who heads the Vatican’s Pontifical Academy for Life expressed his disgust in the right-wing daily, Il Giornale, on Sunday.

The archbishop spoke of the importance of the Olympics and sporting values in promoting fraternity and equality before saying: “This high ideal has been besmirched by a blasphemous mockery of one of Christianity’s holiest moments.”

Dude. Get a grip. The painting is just one guy’s idea of what a purported “last supper” might have looked like. That’s all. It’s not a historical record of the event itself. The parody is not the painting itself.

The taunting of women, of course, goes unmentioned. The archbishop approves of fraternity but sorority apparently not so much.

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