The fascination held in art has pushed even Prince Charles to critique the placement and tenure of architectural constructs within the concept of community and history.
How good does it look seems secondary today to how much does it cost and how much can I get out of it once it is built.
Of course there is a lot that looks good that costs quite little, usually around the tended edges of the buildings our Prince so rightly provides both an a-political and timeless perspective on.
Royalty has its merits.
Perhaps in every country of the world there should be a royalty to which the individual would strive to aspire to please.
Mervyn Pym thought craft the art of the age he described in its ascent to royal hands. And the bejeweled Faberge eggs most certainly expand the imagination at the hatching of taste in patronage.
Today, in England, the Royal Family is not the same patron of the arts that the state is. While around the world public money upholds a corporate rubber stamping of low cost 'fixtures' hanging on walls, sitting on shelves and crouching in gardens.
There is something for everyone. And everyone gets something.
And craft is now a cog in the machine that feeds an assembly line on a landscape of freedom from expression.
When did the Royal touch give way to The Midas Touch?
-- if public money had been spent in making this piece you couldn't afford to read it --
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