Broad Brushstrokes

From the morass of cynical EU laws and directives has surfaced the clause prohibiting the routine vaccination of animals against Foot and Mouth disease. A more pernicious piece of legislation you could not wish for. As Matthew d'Ancona very properly points out in The Spectator, there is no good reason why animals should not receive the vaccination in view of the large number of antibiotics and medicines with which they are already treated. Of course, the explanation is as simple as it is offensive: this flabby, regressive, jealous, grasping body of protectionist bureauworms cannot bear the idea of denting consumer-confidence in European meat; so naturally, they prefer to enforce measures that are potentially (potential that has the potential soon to have been realised twice in 6 years) catastrophic. From where I'm standing, Euroskepticism has never looked so appealing.

=Dogtooth spent most of the weekend visiting the National Gallery. Far from gaining a new appreciation, I left in something of a hot mood, feeling angry and disappointed with many of the painters who, up until this point, I have revered. It is clear to me now that, in all respects, the late Nineteenth Century was an inferior forty years. For Courbet, Manet, Degas and Cezanne, I have unshakeable admiration. By advancing the cause of portraiture they bore the only worthwhile fruit of that twoscore years. Portraiture: bold and infinitely fascinating! And how feeble and self-indulgent appear the so-called 'experimentations' of Monet's Poplars or Seurat's bloody dots in the shadow of a magnificent Ingres, a Delacroix, a Gericault or a Velazquez. Even Constable's landscapes knock the Impressionist efforts into a gaping macaroon. Go back another few centuries, and you have the likes of Titian, Lippi, Raphael, Masaccio and Caravaggio to contend with - painters who actually strove to represent human bodies and engender action, atmospere and interest, as opposed to few wispy forms shimmering ineffectually among some blurred trees. Who did Monet think he was, sitting in his boat? Claude (-Oscar?) Monet! The macaroon gapes for thee, thrice wider than for other men!