THOUGH Bagehot is a hand-wringing liberal on many matters, when it comes to dodgy public art (taxpayer funded or no) he is a raving conservative. One amongst the much less delighted surprises of returning to London after a lengthy stint in a international country has been the discovery, motorway by motorway, of 13 years’ rate of duff installations. So I cheered a share in primarily the most traditional Spectator by Richard Dorment, art critic of the Daily Telegraph, denouncing the grim series of sculptured tat dumped in most traditional years on Park Lane, a fast stretch of motorway bolted on to the jap edge of Hyde Park by crazed 1960s metropolis planners.
