Interconnect

Your problems solved | 1 November 2003

From our UK edition

Dear Mary... Q. My husband and I are planning to celebrate our 55th (emerald) wedding anniversary with a modest family party. We have verbally accepted a quotation for a finger buffet from a local caterer, but our grandson, who with his wife runs a small catering business in Birmingham, has expressed a wish to do the catering. Delighted as we are with this offer, we find ourselves in a bit of a quandary: we were hoping that this couple would be among our guests, and we don’t want them to be occupied in the menial task of preparing the buffet and clearing up afterwards. On the other hand, we don’t want to deprive them of the opportunity to promote their business and make a profit. What do you suggest, Mary?P.G.H., Colchester, Essex A.

Guardian of the nation’s treasures

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Exhibitions celebrating the nation’s art treasures have a habit of backfiring. Within 50 years of the great Art Treasures of the United Kingdom show held in Manchester in 1857, for instance, around half the works of art exhibited in this inadvertent shop window had been sold by their owners and had left the country. What strapped-for-cash country landowner, hit by the agricultural depression of the 1880s, could resist the newly bulging chequebooks of the German museums and the equally bulging American plutocrats? Not least when a loan to an exhibition had proved to the family that it could, after all, live without its greatest heirloom.

Pig business

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We ignored the ‘No Entry’ sign at Smithfield hog factory, near Szczecinek, west Pomerania, in northwest Poland. Clambering over wire barriers, we wrenched open the ventilation shaft of one of three vast concrete and corrugated iron sheds. Inside, 5,000 squealing pigs were crammed into small compartments. Outside, effluent from concrete cesspits had overflowed, sending a small stream into the lake below. In a large plastic bin (empty the previous night) we found 20 dead pigs. Pig factories are invading Poland. When the German army launched its invasion in 1939, Britain declared war to save the country.

Gothic’s crowning glory

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Annabel Ricketts enjoys a visual feast at the V&A but takes issue with the show’s lack of rigour The V&A’s exhibition Gothic: Art for England 1400–1547 brings together a magnificent array of objects drawn from all over Europe, and the organisers have achieved a sumptuous display. To make it digestible, the arrangement is thematic rather than chronological, with objects grouped in different sections. One of the first of these deals with Patronage, and examines the commissions of a number of patrons from different levels of society, ranging from royalty to merchants and civic institutions. Here are some of the most splendid objects in the exhibition. Perhaps the most breathtaking is the early (c.1390–1410) reliquary of the Order of St Esprit from the Louvre.

The other island

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This massive volume weighs in at seven pounds on the bathroom scales and cost The Spectator £14.50 in stamps to send out for review. If it is difficult to write about, this is not because of its size and weight but because the eye is constantly caught and distracted by fascinating pieces of information, so that a reviewer reads on and postpones writing about it. (Which is, I suppose, the best mini-review such a compilation can hope for.) The general editor, Brian Lalor, says in his preface that ‘16 senior consultant editors and 50 consultant contributors have guided a standing army of 950 writers in four continents…’ and that the whole enterprise was able to be compressed into four-and-a-half years only because of email.

Is this the end of painting?

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Some arty readers may have been concerned by the recent news about Monet and Rolf Harris. A substantial section of the population, it seems, is unable to tell the difference between them — some thinking that the Australian entertainer depicted the waterlilies at Giverny. Admittedly, both have or had grizzled beards, but even so the information is a disturbing straw in the wind. So, too, is the information that almost half the population haven’t a clue who painted the ‘Mona Lisa’ (though only one man thought it was by Leonardo DiCaprio). Is this finally the end for the grand old medium of painting? Will it be killed, not — as foretold long ago — by photography but by a general indifference?

The Georgian way of death

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The last days of the great essayist and dictionary-maker Dr Johnson were recorded in vivid detail by his biographer, James Boswell. Breathless and in pain, Johnson, aged 75, prepared himself for death with admirable courage. He had been plagued all his life by a fear of the dark, by the insomniac’s dread of not waking up; a dread made sharper by his fervent belief in Purgatory, Hell and the Day of Judgment. For Johnson, religion was no panacea and the prospect of death was appalling. And yet, with characteristic moral strength, he also contemplated his approaching demise with rational detachment. He asked his physician, Dr Brocklesby, to tell him plainly whether or not he would recover.

WINTER TRAVEL SPECIALMini-breaks

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Mmmm. Got lovely new mini-break brochure: Pride of Britain: Leading Country House Hotels of the British Isles. Marvellous. Going through all the pages one by one imagining Daniel and me being alternately sexual and romantic in all the bedrooms and dining-rooms.Bridget Jones's Diary Last weekend my husband and I went on a mini-break to Majorca. Two weeks before this we spent a long weekend in Whitby, with friends. Earlier this summer I attended a two-day hen weekend in Manchester, and next week my husband is off on a three-day mid-week break to Valencia for the famous annual tomato-throwing (sounds like most dinner times with my two-year-old, but apparently this is special). I'm hoping to fit in a visit to Sitges before the end of September.

The new imperial vision of Silvio Berlusconi

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The Spectator began by asking Berlusconi whether he has mended fences with Chancellor Schröder, after he likened the German Social Democrat MEP, Martin Schulz, to a Nazi camp commandant? It was I who was offended, my government and my country. I replied with a joke. I wanted to be humorous. The whole of the parliament laughed. My reply was taken and exploited against me. But you know what? It was a reply that was virtually impossible for me to resist because I once broadcast 120 episodes of Hogan's Heroes in which there was this Sergeant Schulz. You remember? I didn't even think about it. Schulz was shouting at me – no? And it just came to me off the cuff. I always try to be ironical in my speeches.

Endless stint of stunts

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To be apparently always affable, a person everyone is pleased to see, ‘dear old Johnners’, as it seems was the broadcaster Brian Johnson, takes a nerve of steel, and that is apparent in this slightly awed biography by his son. Perhaps it is true, as Barry Johnson suggests, that the early death of Brian’s father — swept out to sea off Cornwall in a swimming accident when Brian was ten — left him insisting for the rest of his life on a world of japes and jokes. Certainly, insist he did, with astonishing persistence. First there was Eton, where he played jokes and cricket, then there was Oxford, where he did the same, life one gloriously extended house-party.

Paying the penance for Culture

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Impossible to estimate how much the Scots have enriched the Life of Man. They gave us the Telephone (sorry, wrong number), Penicillin (much better today, thank you, doctor), the Television (but there's nothing good on any more), and the Wandering Dipso (K'you spear us fufty peents, pal?). To this we must add their latest innovation: the weather-proof, bomb-proof, completion-proof building. The new Scottish Parliament is emerging, with Darwinian slowness, at the base of Arthur's Seat in Edinburgh. A pair of Y-shaped cranes stand over the scattered rubble, their huge limbs ladylike and prim, like fantastical herons dipping and pecking at the concrete. The award-winning architect, Enric Miralles, is as Scottish as they come, by the way, as long as they come from Spain.

Diary – 19 July 2003

An eagerly anticipated lunch-date with our sainted proprietor’s wife. A la page as always, Barbara wanted to try the restaurant above Mourad Mazouz’s blindingly chic nightclub Sketch in Conduit Street. The Lecture Room notoriously costs about a million a mouthful, but they have dreamed up some wonderful and weird ways of making you feel it’s worth it. There’s something called a ‘walking upstairs policy’, which means that no one is allowed to walk upstairs unless they are accompanied by a member of staff. I had arrived before Barbara, who was made to wait until someone could escort her up to join me, while I waited. A gobbledyspeak-trained comis brought some salty thingies to try ‘while you’re wasting your time’.

SPECTATORS FOR AFRICA | 21 June 2003

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In any discussion about the justifications for the war in Iraq, there comes the Zimbabwe point. Yeah, says the sceptic, but what about Zimbabwe, eh? If we go to war to liberate the Iraqis from the tyranny of Saddam, why won't we lift a finger to free the victims of Robert Mugabe? Is it a kind of racism? To which the answer is, of course not. It is just that no vital Western geostrategic interests appear engaged by the disaster of Zimbabwe. If we ran our cars on bananas, matters might be different. But since Zimbabwe is neither an oil-producer nor an avowed sponsor of Middle Eastern terror, the dictator is left on his throne.

More than men with bells

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Those of us who worked at the Arts Council of Great Britain, some 40 years ago, were as often as not introduced, even by our own families, as being at or from 'the British Arts Council'. In vain did we explain that lumping these two institutions together was utterly inaccurate, that the Arts Council brought art from overseas to Britain while looking after art appreciation and practice in Britain, whereas the British Council promoted British culture abroad. The avoidance of personal publicity was a part of our ethos, but a nadir in our public relations was reached when my friend, colleague and fellow struggler at the Arts Council's headquarters at 4 St James's Square was introduced as 'Mr Colin Anson – from the British Legion'.

Own goals galore

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FOOTBALL CONFIDENTIAL: SCAMS, SCANDALS AND SCREW-UPSby David Conn, Chris Green, Richard McIlroy and Kevin MousleyBBC, £6.99, pp. 256, ISBN 0563488581 By chance I picked up Tom Bower's Broken Dreams shortly after putting down a paperback reissue of Selina Hastings' biography of Nancy Mitford. Curiously there was a solitary point of contact. This was the description applied by Lady Redesdale, Nancy's mother, to the collection of preening Oxford aesthetes that her daughter invited to the house for weekends: 'What a set!' Invited to meet the 20 chairmen of the Premiership, bidden to dine with the Football Association or inspect the assorted riff-raff operating as 'agents', Lady Redesdale, you fear, would have expressed her disdain in rather similar terms.

Out of the commonplace

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The following extracts are taken from George Lyttelton's Commonplace Book Zeuxis was said to have painted grapes on a boy's head so well that the birds came and pecked them. Sir G. Kneller said that if the boy too had been well painted the birds wouldn't have dared approach.An accurate daguerrotype portrait of a commonplace face, a carefully fenced, highly cultivated garden with neat borders and delicate flowers; but no glance of a vivid physiognomy, no open country, no fresh air, no blue hill, no bonny beck. I should hardly like to live with her ladies and gentlemen in their elegant but confined houses.C. Bront‘ (1848) on Pride and Prejudice Kipling strikes me personally as the most complete man of genius (as distinct from fine intelligence) that I have ever known.

Uncle to the nation

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It was only when David Attenborough's autobiography arrived for review that I realised I had been dodging his television programmes for years. Nothing personal; it was just that a pigeon on the pavement is more interesting to me than a bird of paradise on a television screen, a peep-show, that seems to push me further from 'nature', not nearer. This perhaps snooty self-revelation is only intended to highlight the way, when I came to open his book, I found myself laughing delightedly, and greatly warming to him. He is just a jobbing tellyman after all, a 'programme-maker', with all the compromises that entails, and he fell into it by accident. Bored with a job in educational publishing, he applied for a place on a BBC training course (Sound) and was turned down.

Parliamentarian of the Year

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The 19th annual Parliamentarian of the Year awards, sponsored by The Spectator and by Zurich Financial Services, were presented by Michael Martin, MP, Speaker of the House of Commons, the guest of honour at the awards presentation luncheon held at the Mandarin Oriental Hotel, London. The guests were welcomed by Sandy Leitch, chief executive of Zurich Financial Services. The chairman of the judges, Boris Johnson, editor of The Spectator, read out the judges' choices and the reasons for them. Parliamentarian of the Year:The Rt Hon. Tony Blair, MPThe talents of this year's victor ludorum were first spotted at Fettes, where he was in the netball team, and played Mark Antony in Julius Caesar.

Bruiser, cruiser but no boozer

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The subject of this intelligent biography was among the founders of the Modern movement in British art before the first world war, and a leading formulator of what he considered to be its principles. A philosopher/aesthetician, he was a friend of Epstein, Wyndham Lewis, Pound, Gaudier-Brzeska, and was thought a great poet by the young T. S. Eliot. Ezra Pound published Hulme's five short poems at the end of one of his own books, entitling them The Collected Poetical Works of T. E. Hulme. A joke, of course, but they consist of the pictorial, of images; publicist Pound borrowed a word from the French and founded the Imagist school. Hulme published no book in his lifetime and his scattered papers were put together in the 1920s by Herbert Read under the title Speculations.