We can all be forgiven for looking straight ahead, or even to the ceiling, when entering an art gallery.  Whether eager to find directions to a favorite piece, or gazing up at an incredible domed or trompe l’oeil-ed entrance hall, the floor beneath us is usually of little interest.  At the National Gallery in London, however, rather than racing forwards in search of a Rubens, or Van Gogh’s ‘Sunflowers’, take a moment, and take a look at what’s going on beneath your feet.  For it is here, in the entrance way of Britain’s national Fine Art collection, that you will find your first masterpiece; it’s no Old Master, and it doesn’t even hang on a wall, but the mosaic floor that graces the gallery’s portico is by all means worthy of serious contemplation.

Set into the first and second floor landings of the gallery are the works of Russian artist, Boris Anrep.  Three mosaics, The Awakening of the Muses (1933), The Labours of Life (1928) and The Pleasures of Life (1929) were laid out in the entrance vestibules of each floor, and Anrep was welcomed back again to complete a fourth mosaic pavement in 1952, entitled The Modern Virtues.  All three mosaics are vibrant celebrations of the everyday, plus a range of contemporary scenes of British life, from football to Christmas pudding; a fitting tribute to the bustling institution that last year saw over five million visitors cross this very threshold.

However, the most remarkable thing about these mosaics is the fact that rather than illustrating traditional mythological scenes, they depict real people – actual acquaintances of Anrep’s, and important figures from his own contemporary history.  For example, film star Greta Garbo features as Melpomene, Muse of Tragedy; author Virginia Woolf wields an elegant pen as ‘Clio, Muse of History’; the ballerina Dame Margot Fonteyn appears as ‘Delectation’ and the philosopher Bertrand Russell as ‘Lucidity’.  The Prime Minister, William Churchill, is even represented in the guise of ‘Defiance’.

But why did Anrep choose to illustrate such well-known people in his mosaics?  He had arrived in London at the end of the First World War, but was already famous in his native Russia, and also France, as a poet.  While in France he had befriended the artists Augustus John and Henry Lamb, whose acquaintance ensured him a ready introduction to London’s literary elite.  Before long he was firmly ensconced as a member of the ‘Bloomsbury Group‘, the famously influential gathering of writers and intellectuals who included Woolfe and E.M Forster.  It is likely that the appearance of such characters in the National Gallery mosaics is indicative of the social life in which he was engaged at the time of their conception. That the mosaics were paid for privately by fellow socialites, the industrialist Samuel Courtauld, and Maud Russell (wife of the prominent banker Gilbert Russell) lends weight to this argument as well.

Another reading of the mosaics suggests we interpret them as a satire on the 19th century’s conventions for the decoration of public buildings; the previous century had seen the embellishment of the Albert Memorial in South Kensington with the ‘Frieze of Parnassus’, so Anrep’s depiction of ‘The Awakening of the Muses‘ can be seen to subvert this Victorian moral exemplar by emulating it, with the addition of  ‘Muses’ known to both the popular media and gossip columns alike.  The 1952 mosiac, The Modern Virtues‘ continues the satirical game, offering Anrep’s own perception of ‘virtue’, which included ‘Humor’ and an ‘Open Mind’ personified in place of the traditional Christian seven.

The mosaics were clearly well received, as Anrep went on to complete mosaic pavements at Westminster Abbey, and the new Bank of England, although his playful inclusion of well-known society figures did not find a place in these more sober efforts.   So, next time you find yourself at the National Gallery, or indeed in any gallery in one of our cities, remember to look down, as well as all around you…you never know why might be gazing up from beneath your feet.

The author and her son study a Roman Villa floor mosaic

New parents will probably want to stick close to home in the first few months after their baby is born. Between feedings and diaper changes, a newborn requires almost non-stop attention. Besides, mum and dad will probably be a little exhausted. By age three months or so, however, babies are pretty good candidates for travel and they are less likely to view travel as a disruption now than later on. Furthermore, they cannot run around yet, get into trouble, or pull faces if you decide to spend three hours in a museum hovering over art or archaeology.

These are the very reasons I decided to spend the last month of my maternity leave visiting my favorite museums and exhibition venues in Rome, with my baby in tow. If Rome has been on your wish list for some time and you are now in the company of a newborn, here is some information to help you organize your stay in Rome with your little one and enjoy every minute of it!

Breastfeeding in public. Nowadays, breastfeeding in public in Italy is not as difficult as it used to be. Attitudes have changed dramatically in recent years, and for the better. It is highly unlikely that a mother would be asked to stop breastfeeding in a public venue. At the same time, discretion is key and it is always sensible for a nursing mother to let the owner of a cafe know that she intends to breastfeed before she sits down to do it. Another good option is to use a light scarf to shield the baby while nursing. This has the benefit of providing some privacy and keeping distractions out of the baby’s sight, as shown in this video.

Stroller or baby carrier? A baby carrier is usually the best option, but a surprising number of museums are happy to allow strollers on the wheelchair access route. All of the following museums were proactive in allowing mum with baby asleep in the stroller to take a different route which included elevators: Capitoline Museums, National Gallery of Modern Art, Palazzo delle Esposizioni, Museo Nazionale di Palazzo Venezia, Museo di Villa Massimo alle Terme, Galleria Borghese (you can access the first floor provided that your stroller can be folded and fits into the narrow lift), Colosseum  and many others.

Diapers. Baby pit stops are thin on the ground in Rome. Most cafes, restaurants, and museums do not provide baby-changing facilities, and restrooms are often far from the ideal spot to set up your own, improvised one. With that in mind, here are some great spots to remember when it’s time for a diaper change:

• Prenatal shops usually have a room where you can change your baby. In Rome you can find them on Via Nazionale 45 (Esquiline) and on Via Gregorio VII 1 (Vatican area).
• Milk Bar is baby-friendly shop in the historic district of Monti where, in nice weather, it’s possible to stop to change a diaper, feed the baby, or just relax in the beautiful garden.
• Angelino ai Fori is a restaurant and cafe located on Largo Corrado Ricci 40-43a (on the corner with Via dei Fori Imperiali). Their restroom has changing facilities.
• Most pharmacies, if they have room, don’t mind a quick diaper change in their store.

Time of the year. Rome is always busy, but from May to September especially, the city is packed with visitors. Those months are also the hottest of the year, so it’s generally best to avoid them. Instead, make the most of springtime in Rome (mid-March until early May) or early fall with the so called Ottobrate romane, the beautiful October days.

Useful Links
Tips for traveling with a newborn to eight-month old baby.
La Leche League: a worldwide network of mums helping breastfeeding mums with international members also in Rome. 

The Royal Palace of Madrid

Much is often said about the French Bourbons, whose reign was met with a messy and dramatic end at the guillotine in 1793, but what about their less notorious Spanish cousins? The Spanish Bourbons have a colorful history of their own – they were known as great patrons of the arts, but were also forced to abdicate by the Bonapartes, and experienced various upheavals. In honor of the 300 year anniversary of their reign (just this past April), we look at some of our favorite Bourbon monarchs, as well as the highlights of their rule.

Statue of King Charles III in Puerta del Sol – pay close attention to the inscription for a complete list of Charles III’s accomplishments

Perhaps the most intriguing Spanish Bourbon of all was Charles III, Philip’s eldest son who ruled briefly from 1759 to 1788. King Charles III is largely credited with transforming Madrid into the contemporary capital city that it is today. Sometimes referred to as the “Best Mayor of Madrid,” Charles III embraced the rationalist ideals of the Enlightenment and encouraged scientific research while also limiting the influence of the Church. He oversaw the construction of a network of roads leading to Madrid and made vast improvements to other Spanish cities, such as Seville where he initiated the building of several hospitals. Also known as a great patron of the arts, King Charles III moved and redesigned the Royal Botanical Gardens in Madrid and built the Prado Museum, which now houses the former Spanish royal collection of paintings and sculpture.

The Prado Museum

King Charles IV continued the tradition of artistic patronage when he ascended to the crown in 1788 after the death of his father Charles III. In 1789 King Charles IV made Francisco de Goya a court painter and finally anointed the celebrated Spanish artist with the title of First Court Painter in 1799. Goya’s famous Portrait of Charles IV and His Family was completed a year later in 1800 and is currently on display at the Prado Museum. Far from a flattering portrait of the royal family however, the Bourbons are enveloped by dark shadows and in a mundane palace setting, which alluded to the many troubles that were about to befall the next generation of Spanish Bourbons at the dawn of the 19th century.

Within the next decade, Ferdinand, Charles IV’s eldest surviving son, lead a failed coup d’état and was later forced to abdicate the throne in favor of Joseph Bonaparte, the brother of France’s Emperor Napoleon I. Throughout the 19th and early 20th centuries, the Spanish Bourbons faced many shifting power struggles and were even deposed twice. Under the constitutional monarchy of King Juan Carlos I, directly descended on both sides from the original King Philip, the Bourbons were finally restored to power in 1975 after the death of Spanish dictator Francisco Franco.

If anyone is wondering how the crowds in the Vatican look this year, see above. Photo by: Patrizia Sfligiotti

Catalonia’s, and in turn Barcelona’s, culinary culture has essentially adopted molecular cuisine as its mascot, though in recent years it has also begun to embrace the slow food movement, an “anti-fast food” philosophy which aims to promote local and seasonal foods. The resulting cuisine is edgy, experimental, and of the land.

We recently had the “difficult” task of indulging in a research run through one of our newest experiences in Barcelona, Modernista Menu: Avant-Garde Cuisine in Barcelona. During this annotated dinner, led by a Context docent and food expert, we were taken on a visual and gustatory adventure through contemporary Catalan cuisine at the celebrated Lluerna restaurant. Delight in our photos from the event.

Victor and Mar in the Kitchen

Restaurant Lluerna is chef Víctor Quintillà and sommelier Mar Gómez, opened in 2001.

Víctor, recently elected Young Chef of the Year by the Catalan Gastronomy Society, began his career interning under Mr. Adrià, where he learned to employ unorthodox culinary techniques first invented at elBulli, like foams, and gelification, among others. Víctor applies many of these techniques in his dishes, and his kitchen contains the various tools and machines necessary for such experimentation, though he is quite secretive about his processes.

In 2012, Lluerna earned its first Michelin star.

Private Dining Room

Behind Lluerna’s modern and minimalist private dining area lies a wall of Catalan wines, expertly selected from local vineyards by Mar, whose wine list was recently awarded a prize in Catalonia’s prestigious Cartaví competition, organized by the Catalan Wine Association.

In Europe, wines are named after the region in which they are grown and bottled, unlike American wines which are named after the grape varietal. This is identified by a wine’s “DO” (the DO, or designation of origin, identifies the region where the wine is made and the methods used to produce it, in addition to guaranteeing its quality). Catalonia has eleven DO. The wines served at Lluerna are organic “DO Catalunya”–typically whites have notes of white fruit (apple) and some tropical fruit (pineapple), while reds have notes of cherry and raspberry. Common Catalonian varietals are macabeu, xarello, and garnatxa.

Interestingly, most Catalonian wines are not available for consumption in the United States.

Photo credit Víctor Quintillà.

Porcini and Cream Soup with Liquid Ravioli

The presentation of each dish is meticulously planned. This porcini mushroom and cream soup was brought to us in individual parts. First to arrive were three delicate spheres positioned in the center of an asymmetric bowl. We were encouraged to examine the white specimens, which resembled the size and consistency of poached quail eggs, before Mar added the soup and garnish to the mix. We were then instructed to eat the “eggs” whole, which yielded a literal explosion of cool cream into the mouth–these were not eggs but rather liquid ravioli, which Víctor creates using the molecular spherification process.

Jabugo Ham and Winter Vegetables

Víctor, an adherent of the slow food movement, uses seasonal and local ingredients where possible, as the name of the restaurant suggests (Lluerna is the Catalan name for a mediterranean fish abundant in the region). In this dish Víctor pairs locally-grown winter vegetables with Jabugo ham, which is cured in a region in the west of the Spain.

Romesco Sauce

Víctor enjoys playing with traditional Catalan cuisine. Here, one of our favorite dishes: the day’s catch with calçot onions and Romesco sauce. Calçot onions, a type of scallion, are native to Catalonia, while Romesco is a traditional Catalan sauce made from almonds, roasted garlic, olive oil and dried red peppers.

Tiramisù

To finish off the meal, a quirky interpretation of an Italian classic: tiramisù. Here, Víctor uses the molecular technique of deconstruction, changing the typical appearance and construction of a dish while preserving its expected flavors. He has separated the elements of an ordinary tiramisù–the amaretto is in the ice cream, the chocolate liquified, and the mascarpone cheese as individual scoops–to create the extraordinary.

Meze (appetizers) at a meyhane in Istanbul

At the end of a long work day, many Istanbulites are ready to sit down for some drinks, delicious food, and good conversation with friends. Where do they go? Likely, it would be a meyhane (pronounced “may-ha-neh”), a traditional Turkish style tavern. Meyhane are often less familiar to visitors than kebab houses, for example, so we asked our culinary experts in Istanbul about this more traditional mainstay of Istanbulite culture. Here is what they shared with us about meyhane:

Named for the Balkan words for “wine” (mey) and “tavern” (hane), these taverns serve alcoholic drinks as well as small, tapas-style appetizers called meze. Usually cooked in olive oil and served both hot and cold, meze are almost always enjoyed with rakı (“ra-kuh”). Sometimes called “lion’s milk”, rakı is a potent, anise-flavored, distilled spirit that is widely popular all over Turkey.

A meyhane in Karakoy, Istanbul

Meyhane have a long history in Istanbul. Originally male-only establishments, these taverns were hubs where Turkish men would gather to socialize and drink wine. In the evenings at the end of a workday, neighborhood meyhanes would fill with men chatting and enjoying a few drinks before heading home for dinner.

As daily life in Istanbul has evolved and changed over time, so too, have the meyhanes. Slowly, the menus expanded as new dishes were added. Meyhanes began to serve rakı instead of wine, and gradually, it became acceptable for women to join the men. What hasn’t changed over time is the local, community experience intrinsic to the meyhane. A bottle of rakı, or some meze are always shared – there are no individual dishes. And no visit to a meyhane would be complete without the  the secret ingredient: sohbet “good conversation”.

The west coast of Scotland

Although traditionally ascribed to the Highlands and Islands of Scotland, Gaelic can be found all over the country, in both rural districts and cities alike.  With this is mind, we put together some useful phrases and pronunciation tips, to help you impress the locals:

In most Gaelic (or Gàidhlig) words the  stress falls on the first syllable.  For example, while in English we pronounce the word poLICE, in Gaelic, the emphasis is on the the first syllable:  POILios.   Remember that ‘ch’ should always sound like ‘Loch’ or ‘Bach’, and always roll those ‘R’s.

Some useful phrases might be:

• “Dè an t-ainm a tha oirbh?” (Jeh un TAH-num uh HAW-ruv?) – What’s your name?

• “‘S mise…..(insert your name).” (SMIH-shuh…) – My name is…

• “Ciamar a tha sibh?” (KIM-mer uh HAH shiv?) – How are you?

• “Tha gu math, tapadh leibh.” (HAH guh MAH, TAH-puh LEH-eev) – I’m well, thank you

• “Càit a bheil an taigh beag?” (KAHTCH uh vehl un tye bek?) – Where’s the bathroom?

• “Slàinte mhòr agad!” (SLAHN-tchuh VORR AH-kut!) – Great health to you! (“Cheers!”)

• “A bheil Gàidhlig agaibh?” (uh vil GAH-lik AH-kiv) – Do you speak Gaelic?

• “Tha, beagan.” (hah, BECK-un) – Yes, a little

• “Chan eil mi a’ tuigsinn.” (chan-yel mi uh-TOOK-shin) – I don’t understand

• “Tha mi duilich.” (hah mee DOOH-lich) – I’m sorry

• “Gabhaibh mo leisgeul.” (GAHV-iv moe LESH-kul) – Excuse me

• “Ma ‘se ur toil e.” (mah sheh oor TUL-leh) – Please

• “Tapadh leat.” (TAH-puh LAHT — also — TAHplett) – Thank you

• “Mòran taing.” (MAW-run TAH-eeng) – Many thanks

• “‘Se do bheatha.” (sheh doe VEH-huh) – You’re welcome

And for the most famous of all Scottish exports, did you know that the etymology of ‘whisky’ comes from the Latin aqua vitae = “water of life”, which was translated to Scottish Gaelic as uisge beatha = “lively water”.  A Gaelic proverb fits in with this thought: “Cha deoch-slàint, i gun a tràghadh”, meaning “It’s no health if the glass is not emptied!”

Henry VIII

Dining during the time of Henry VIII often conjures up images of food-stained doublets straining over wobbling bellies, plump chicken legs held in greasy hands, and cowering serving wenches with their trays of mead and ale, praying silently that theirs will not be the next head to roll.  In this context, it can be difficult to imagine any art involved in the evening.

But how far removed from this picture was dining at the Tudor Court?  It may come as some surprise that reality was somewhat different. Dining in the age of Henry VIII was a serious business, and an extremely expensive one. The kitchens of Hampton Court, the best known and most luxurious of Henry VIII’s residences, were responsible for feeding over 600 people, twice a day, with an annual provision of 1,240 oxen, 8,200 sheep, 2,330 deer, 760 calves, 1,870 pigs and 53 wild boar, according to the records held by the Historic Royal Palaces. The majority of this meat would have been roasted over a spit, and is one purported origin for the great Sunday Roast enjoyed across Britain even today.  Roasting was by far the most expensive way to eat any kind of animal; only the super-rich could afford fresh, rather than salted or dried meat. It required constant turning over a flame for the duration of an entire day, which not only meant the hire of a ‘spit-boy’ to do the job, but huge amount of fuel wasted. And to think, these roasts were not reserved just for Sundays, but were on the menu at nearly every meal. The only exception to this might have been Friday, when the church forbade the consumption of flesh, leaving the kitchens reliant on huge quantities of fish, served alongside the Tudor delicacy, Grilled Beaver Tails. Apparently beavers counted, rather conveniently, as fish.

Meat roasting on a spit

Another dish that is still eaten all over Britain today has its origins in the Tudor period: Black Pudding.  The word ‘pudding’ derives from the technique of using an animal gut to contain a foodstuff while cooking it, such as with sausage meat.  Black Pudding, however, saw the filling of a length of pig’s intestine with the animal’s boiled, congealed blood, and then fried, or roasted.  The internal organs were also regarded as delicacies, with lungs, spleen, and even udders considered fit for a king and served preserved in brine or vinegar.

Not all dishes at Henry VIII’s court were quite so stomach turning however, as the 1500′s saw the introduction of many exotic fruits and spices to England.  Oranges and lemons were imported from Europe and nutmeg, cloves, ginger and saffron were imported from the East, and used liberally in sauces and garnishes.  Indeed, these spices were crucial components in one of Britain’s best-loved Christmas traditions, the Mince Pie.  Originally shaped like a crib, they contained 13 different ingredients, to represent Jesus and his apostles, including raisins, currants and prunes, and the spices saffron, cloves, mace and black pepper.  They also contained mutton, to represent the shepherds.

The kitchens of the Tudor courts were also known for the incredible displays they created in the banquet rooms; marzipan and colored jellies were used to make edible sculptures of animals, castles, trees and people called ‘subtleties’, and roasted meat dishes were often served in their original ‘dressing’, such as a Roast Peacock presented with all its feathers, or Roast Boar with the animal’s head taking centre stage in the middle of the table.

Still Life with Peacock and Pie – Pieter Claesz, c. 1627

The impression of dining in the Tudor court is therefore one of impressive variety and creativity, as opposed to the sloppy and gluttonous version presented by popular culture.  Supplying the Palaces with meals was a sophisticated and industrial sized production, reaching across Europe and the Far East for produce, and dependent on the constant work of hundreds of servants and cooks to deliver each culinary experience.  It seems even the picture of chicken bones flying through the air to land at the mouths of hungry dogs is incorrect too; a guide to table etiquette published in 1577 strictly prohibits the throwing of bones on the floor.  They were to be placed in a ‘voider’, a dish placed on the table strictly for the purpose, as to allow a dog under the table was considered seriously bad manners.