By Jeremy Whittle
Jeremy Whittle’s trip from unquestioning fan to travel de France insider and proven skeptic is the tale of the way a game has been corrupted via commercialism, scandal and medicine. In influence, Whittle claims, the game is destroying itself from inside.
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Extra resources for Bad Blood: The Secret Life of the Tour de France
We find that manufacture and art are now going on always together; that where there is no manufacture there is no art. I know how much there is of pretended art where there is no manufacture: there is much in Italy, for instance; no country makes so bold pretence to the production of new art as Italy at this moment; yet no country produces so little. If you glance over the map of Europe, you will find that where the manufactures are strongest, there art also is strongest. And yet I always felt that there was an immense difficulty to be encountered by the students who were in these centres of modern movement.
Then, with Titian, take Leonardo, Rembrandt, and Albert Dürer. I name those three masters for this reason: Leonardo has powers of subtle drawing which are peculiarly applicable in many ways to the drawing of fine ornament, and are very useful for all students. Rembrandt and Dürer are the only men whose actual work of hand you can have to look at; you can have Rembrandt’s etchings, or Dürer’s engravings actually hung in your schools; and it is a main point for the student to see the real thing, and avoid judging of masters at second-hand.
There is no existing highest-order art but is decorative. The best sculpture yet produced has been the decoration of a temple front— the best painting, the decoration of a room. Raphael’s best doing is merely the wall- colouring of a suite of apartments in the Vatican, and his cartoons were made for tapestries. Correggio’s best doing is the decoration of two small church cupolas at Parma; Michael Angelo’s of a ceiling in the Pope’s private chapel; Tintoret’s, of a 39 The Two Paths ceiling and side wall belonging to a charitable society at Venice; while Titian and Veronese threw out their noblest thoughts, not even on the inside, but on the outside of the common brick and plaster walls of Venice.