Archive for the ‘cities’ Category

Seville: Archivos des Indias and Esplanada d’Espana

October 30, 2018

In the centre of Seville, just along from the cathedral is the Archivos des Indias or General Archive of the Indies. The huge archival collection, which covers 300 years of Spanish colonisation in the Americas, is housed in a strikingly attractive building (see below) which has superbly crafted ironwork on it many balconies and eye-catching tiles around its upper sections.

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Archivos des Indias, Seville (Click on all photos to enlarge)

While many scholars visit the archives for research, most people go to see the interesting interior of the building. In the building’s many rooms, there are displays of examples of the archival material held there, such as Columbus’ letters to his son or a catalogue of fabric samples. What is most remarkable is the design of the interior with its delicately crafted wood and sculpted ceilings, which are worth taking time to look at closely. As you see in the photo below, there is a variety of symbols carved into the wood and these may represent the trades of the merchants who first used the building to carry out their trading.

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Carved wooden surrounds in the Archivos des Indias, Seville

As you walk down the marble stairs, there is an impressive array of carvings around the sign for the archives. In the photo below, above the name, there is a crown and carved crests and on either side of the sign, and there are beautiful marble pillars and star-shaped carvings. This symmetrical design – at once simple and complex – makes you stop on the staircase and look at the carvings. This is clearly the work of expert craftsmen.

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Part of the staircase in the Archivo des Indias, Seville

I took a wee video of the inside of the main room in the archive – see below. There was also a 15 minute video – in English and Spanish – which tells the history of the building. What is intriguing about this video is that the narrator is the building itself, telling how “I” began as a merchants’ building , fell into ruin and eventually became the archive we visit today.

On the trip to Seville, we made the fatal mistake of not booking online for fabulous Alcazar Gardens and were faced by a huge queue in 30 degrees of sunshine, so we moved on. We were rewarded not far away with the spectacular Esplanada de Espana (good photos), a magnificent crescent of connected buildings, with 2 huge towers at either end. This splendid edifice was built in 1929 but it looks much older. The photo below shows one of the towers which rises above the canal, which goes round part of the square. Looking at the towers, it makes you think that this might be a tribute to traditional Spanish architecture and design, with the layers to towers rising to a peak, suggesting a Moorish influence at the top.

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One of the towers bookending the Esplanada de Espana, Seville

An outstanding feature of the area is the ceramics, starting with the array of pillars which go around the perimeter of the entrance and around the canal. As you see in the photo below, there are ceramic figures on the pillar and tiles at the top and bottom of the ceramic pillars. The tiles are known as azulejos and have been made since the Romans were in Spain. The coloured tiles are thought to have been introduced by the Moors and there are definite signs of Moorish/Islamic influence in  all parts of this building.

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A pillar/lamppost at the entrance to the Esplanada de Espana, Seville

On the walkway above the canal, there are large areas of mosaic tiling and at regular intervals, there are large tiles depicting all the different regions of Spain. The example below celebrates the province of Huelva, which lies to the west of Seville and stretches to the Portuguese border. The colours in each of the squares are vibrant and it is interesting to see the different coat of arms for each region. The Esposicion Ibero Americana noted in the tiling was a world fair in 1929 to enhance trade particularly between Spain and South America.

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Coat of Arms of Huelva province in the Esplanada de Espana, Seville

There is so much to see in the Esplanada that you can easily spend an hour or more looking at the building from different perspectives e.g. there are balconies on to which you can climb to look down on the square and the canal and across to the two towers. You must not miss this out in a visit to Seville.

I took a video of the Esplanada de Espana and I hope that this gives you a flavour of the uniqueness of this very joyful building and square.

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The late poet Matthew Sweeney and Seville Cathedral

October 23, 2018

A delayed blog due to your blogger’s significant birthday celebrations. I was shocked to read an obituary in the Guardian about the death of the poet Matthew Sweeney, who was only 65 years old. He died of motor neurone disease, a terribly debilitating illness of which one of my school friends died. I looked in my collection of Poetry Book Society choices on my bookshelves and found Sweeney’s 1989 collection Blue Shoes. Sweeney was an imaginative and often humorous poet . The Lighthouse Keeper’s Son from Blue Shoes, reads after the title “got arrested/ as he wobbled home on a lightless bicycle, after a late drink/ and he asked the cop/ if the pockmarked moon/ wasn’t light enough/ not to mention the Plough’s/ seven stars/ and his dad’s beam/ lighting the road/ twice a minute/ then searching the sea/ the umpteenth time/ for nothing”. While this is a humorous poem, maybe set in the Irish countryside, about a drunk man, a bike and a policeman, it is also one that contains intriguing imagery. The moon is “pockmarked” and the lighthouse “searches” the sea for “nothing”. The last word is ambiguous – does it mean that the light normally does not reveal anything in the sea, or is the light doing it for free? It is of course, not the light that searches but maybe the keeper. You can hear Sweeney reading his poems here and they are certainly worth listening to.

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Matthew Sweeney’s 1989 collection of poems (Click on all photos to enlarge)

On a recent trip to trip to the beautiful city of Seville with my pal, the main impetus of the visit was to see the football (aka soccer) match between Sevilla and Celta Vigo on a warm October evening. Those not interested should skip the next bit and go to the next paragraph. Here is the inside of the stadium just before kick-off.

We were there of course to also enjoy the city and its magnificent architecture, excellent restaurants and its culture. To say that Seville Cathedral is massive is a gross understatement. Some of its chapels are the size of cathedrals in other parts of the world. It was built on the site of a 12th century mosque and it took over 100 years to build, so both religions wanted something impressive to represent their faith. The outside of the cathedral is so extensive that you cannot photograph it all at once. The first photo shows the magnificent bell tower and the 2nd photo shows the exquisitely ornate main entrance to the cathedral.

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Seville Cathedral’s bell tower

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Entrance to Seville Cathedral

Inside the cathedral, the high vaulted ceilings and the perfect stonework of the pillars lead you into different areas and altars, such as the beautifully crafted and imposing silver altar. This video which I took in the main part of the cathedral, gives you an idea of the cathedral’s grandeur, including the superb sculpture of the tomb of Christopher Columbus, although there is some doubt as to whether it is Columbus or his brother that is in the sepulchre.

The cathedral is always busy with tourists, religious people and humanists, and each person will take their own view of this utterly stunning building and its variety of interior decoration, which displays an amazing range of craft skills and artistry. It is certainly a must visit to this enchanting city.

Peter Carey’s A Long Way From Home and the National Gallery of Ireland

October 11, 2018

I have just finished Peter Carey’s remarkable novel A Long Way From Home which features two very distinct voices of the main characters in the book. Peter Carey is one of Australia’s best known novelists and has won the Man Booker Prize twice, once with his truly original novel The True History of the Kelly Gang, which featured the remarkable voice of the semi-literate Kelly. In the current book, there are two distinct voices which dominate the book in alternate chapters. The first voice is of the feisty and diminutive (in height only) Irene Bobs who gets married to her car salesman husband Titch. Irene is determined to succeed and has refined humorous descriptions of events and people down to a fine art, for example in her dealings with her rascally father in law Dan. The second voice is of Willie Bachhuber, a very intelligent and thoughtful teacher, who is accident prone in life and love. He is dismissed for hanging a pupil, the son of a local villain, upside down outside a classroom window. He moves next door to the Bobs family and ends up being a navigator for their car in the famous Australian Redex Trial, a hair-raising race around Australia in the 1950s. You can get a flavour of the race in the video below.

This is the adventure story part of the book but the novel is much more than a rip-roaring tale. The family tensions within the Bobs family deal with love and emotion. The other major part of the novel deals with Australia’s history of ill-treatment (and earlier genocide) of the aboriginal peoples who once owned all the land. The story of Willie Bachhuber and his family background is often moving but never sentimental, and his teaching of aboriginal children – and learning from them – is inspirational. Carey carefully intertwines the stories of his characters, both white people and aboriginal “blackfellahs”, a term used by both races. This compulsive novel is by turns hilarious and heart-wrenching and contains Carey’s often poetic but always immaculately structured sentences. Some examples: “Mrs Bobs piloted with her nose just above the wheel, checking her mirrors left, right and centre. I was reminded of a sparrow eating”. “Clover was about my own age, tall and slender as a flooded gum”. “Doctor Battery [an aboriginal man] sang softly, with sufficient authority, it seemed, to lift the sun up from the sand, suck the shadows out across the plain”. Go out and buy this novel and the voices of the two main characters will remain with you for a long time.

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Peter Carey’s enthralling new novel (Click on all photos to enlarge)

The final experience of our trip to Dublin was a visit to the impressive National Gallery of Ireland which has an excellent range of Irish artists, as  well as works of the more famous such as Monet, Vermeer and Turner (click on links for examples of their work). My main aim was to learn more – and see examples of – Irish painting and portraiture, and I was not disappointed. The first painting which really caught my eye is The Sunshade by William Leech. The colours in the painting range from vivid to subtle and the sunlight on the woman’s top contrasts with the shadows created by the umbrella. The woman’s top veers from green at the top to bright yellow at the bottom. There is delicacy everywhere in this most attractive painting – in the fine lines of the umbrella, in the woman’s elegant neck and in her fine hands. What is she thinking as she stares into space and her fingers touch on the umbrella’s handle? I think that the artist would leave that for us as individuals to interpret.

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The Sunshade by William Leech

The second work of art is Carting Seaweed on Sutton Sands by Joseph Malachy Kavanagh. The information beside painting – done in 1895 – tells us that collecting seaweed on beaches near Dublin “for food, medicine and fertiliser” was a common practice, as it was elsewhere in Europe. There is so much to admire in this painting – the doleful horses waiting patiently to haul the ever-heightening load of seaweed; the ominous dark clouds, which may be moving away from their lighter and fluffier counterparts – or approaching them; the wet sand with puddles reflecting the wheels and the horses’ feet; the waves which make little impact on the shore; and the man who is busy collecting the seaweed in his rough clothes, with a tear in his waistcoat at the back. Part of the scene echoes Philip Larkin’s lines in To the Sea – “the small, hushed waves’ repeated fresh collapse”. As I live by the sea, paintings of beaches always intrigue me and this painting was no exception.

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Carting Seaweed on Sutton Sands by Joseph M Kavanagh

The final painting is by Sir John Lavery (many examples) some of whose works I have seen in the National Gallery of Scotland (example)The one I have chosen from Dublin is Return from Market, painted in France, as was the Leech example above. This impressionist work shows a mother and daughter returning from the market in a small rowing boat, although the girl is using the oar like a punt. This is quite a large painting, so you can stand back and admire the gentle reflections of the woods and the boat on the water. The leaves at the top and the beautiful water lilies at the bottom of the painting give the work a calming and perhaps dream-like quality. It is a rustic and timeless scene. I like the way the artist captures the serenity of the water lilies, just as they are about to be swept aside by the boat.

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Return from Market by John Lavery

The National Gallery of Ireland is in an impressive, modern building. The lay-out can be confusing but the staff were friendly, helpful and informative. It was a pleasure to visit.

Lincoln in the Bardot and the Danish National Art Gallery

August 9, 2018

All the winners of the Man Booker Prize come with lavish reviews from across the world. Most of the Booker winners which I have read have deserved much praise, but often I’ve found that some of the reviews are a little too praiseworthy. I have just finished George Saunders’ astonishing novel Lincoln in the Bardo, which won the Man Booker Prize in 2017. This books deserves all the praise it can get. Having said that, there is a leap of the imagination to be done when reading this novel. Most of the science fiction and fantasy novels I have read have been disappointing, as I’m unwilling or unable to make this leap. Saunders’ novel – his first as he is globally recognised as a fine short story writer – begins with a ghost/spirit speaking from a place where bodies are stored and recounting how he died. The OED defines bardo as ” (in Tibetan Buddhism) a state of existence between death and rebirth, varying in length according to a person’s conduct in life and manner of, or age at, death”. So the story is set in a type of bardo, as Saunders does not define this space as being related to any specific religion.

The main story then emerges and it is a sad and often poignant account of the death of Willie Lincoln, the son of Abraham Lincoln. Willie is still in his sick-box, which is the termed used for coffin by the multitude of ghosts/spirits, who describe the place they are in and how macabre and often dangerous it can be. Lincoln, worn down by the civil war in which casualties are increasing dramatically, visit his dead son and there appears to be historical evidence of this, although we are not sure. Saunders appears to be quoting from books and articles about Lincoln, his son and his distraught wife, but there is no bibliography at the end of the book. This does not matter as the novel is convincingly and at times vivaciously written, and the reader is carried along. Just when you think Saunders is dwelling too long on one aspect of the story, he continues another part. The book also focuses on aspects of society at this time – the civil war, race issues and class differences – but never in a didactic way. It is at times a very funny book, with some bawdy exchanges, and there are aspects of the surreal as the ghosts/spirits try to survive attacks. The main memory of this book will be Lincoln and his son. I cannot recommend this book highly enough. It is a compulsive novel. Go out and buy it.

Lincoln in the Bardo

Click on all photos to enlarge

On our visit to Copenhagen, we went to see the collections in the Danish National Art Gallery (Statens Museum for Kunst). I have to admit to knowing nothing about Danish art, so the walk around the extensive gallery was a learning experience as well as an aesthetic one. The gallery is an impressive stone building and has recently added a beautiful extension at the back. The extension (photo below) is much more open to the light than the existing structure and has walkways leading to the new exhibition spaces.

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The Danish National Gallery’s extension

The gallery has a wide range of paintings and installations ranging  from the 13th to the 21st centuries. I was particularly attracted to the late 19th and early 20th century paintings and include a selection below. Firstly, a painting by Theodor Philipsen of Cattle on the Isle of Saltholm. The national gallery regard Philipsen as an innovator in his time, especially in relation to light and colour and state that he was Danish impressionist, focusing on his nation’s countryside. This is a dramatic painting when you see it and your eyes are drawn to the movement of the cattle, but especially to the effect of the light on cattle’s bodies and the shadows cast. The painter catches the variety of colours of the cattle and the brightness of the sky in the sunshine. Saltholm is an island in the Oresund (famous for its bridge), the strait between Denmark and Sweden.

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Long shadows. Cattle on the Isle of Saltholm by Theodor Philipsen

The second painting is by Laurits Andersen Ring and depicts a labourer working in the fields at harvest time. The painting is simply called Harvest and represents the hard work done by farm workers in the fields at this time. Again there is movement in the painting and your eye is drawn to the swirl of the hay as the man turns it into a stook. The metal tool is obviously designed for this purpose and we can see that the man has to be strong to wield such a tool. The sun on the uncut barley behind the worker turns part of the crop’s top white and the light shines directly on part of the emerging stook. The man’s clothes are ragged but there are many shades of blue in his top. As the gallery notes, this is a monumental painting and it takes centre stage on one of the gallery walls. I liked it for its boldness and vigour. It is harvest time around here at the moment, so this painting was very timely.

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Harvest by Laurits Andersen Ring

The final painting here attracted my attention because of its size, its colours, its characters and also because it resonates with my local environment in Dunbar. Michael Ancher’s painting The Lifeboat is Taken through the Dunes  is a large painting which dominates the room in which it is hung. The gallery notes that it has a photographic quality and like the Harvest painting above, this is an active scene. Your eyes are drawn up the line of men preparing to launch the lifeboat, but having to pull it through the dunes – not an easy task, even with the horses at the front. The men are talking and maybe discussing the rescue about to take place and the man on the far right is calling back – for more assistance? Launching and rowing a lifeboat in these times was a hazardous task for these volunteer fisherman, but Ancher portrays these ordinary men – heroes to some – as calm and purposeful. What adds to the potential danger is the snow on the dunes and we can just see the crashing winter waves above the dunes. We have a lifeboat here in Dunbar and some old photos show men hauling the non-mechanised boat over the beach.

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Michael Ancher’s The Lifeboat is Taken through the Dunes

If you are in Copenhagen, the national gallery has paintings to suit all tastes and it is a very relaxed space in which to wander about and select what you want to see.

Bernard MacLaverty’s “Midwinter Break” and Scottish Birds’ photos

July 10, 2018

The literary output of the author Bernard MacLaverty stretches over many years and has always been of the highest quality. For MacLaverty fans, a 16 year wait for a new novel is a long time to wait but his new book Midwinter Break is certainly worth waiting for. It should be noted that MacLaverty has produced superb books of short stories in between the novels. This is a book that can be read and appreciated by readers of any age, but it will be particularly poignant to older – but definitely not old – readers in their 60s. The protagonists of the book are Stella and Gerry, who have been married for many years and are spending a weekend in Amsterdam in the winter. The couple live in Edinburgh but originate from Northern Ireland, where they lived during the Troubles. In a number of flashbacks, MacLaverty brilliantly presents key moments in their lives, such as  their early romance and Stella’s trauma and Gerry’s visits to the hospital. In Amsterdam, Stella is seeking solace in her life as she feels unaccomplished. She considers joining a group of women who share her religious faith, but this would mean leaving Gerry.

A key feature of the book is Gerry’s love of – and struggle with – alcohol. MacLaverty cleverly – and often humorously – shows how Gerry tries to hide his whisky drinking from Stella, but he also writes about how much pleasure Gerry gains from his first dram, then his second and then – what the hell? – his third. Of course, the hungover Gerry regrets his drinking, but not for long. There is a superbly written confrontation between Stella and Gerry about his drinking near the end of the novel. MacLaverty writes in detail about the couple’s daily habits and makes this intriguing to the reader. The novelist’s ear for conversation is sharp and the dialogue between the couple is utterly convincing.

MacLaverty also has his two protagonists referring to literature and Stella recalls Thomas Hardy’s poem on snow, following a storm in Amsterdam. The poem begins

Every branch big with it,
Bent every twig with it;
Every fork like a white web-foot;
Every street and pavement mute:

The last line above is particularly observant – how snow takes away some of the noise we normally hear. It is one of the best novels I’ve read recently – buy it and you will not be disappointed.

Bernard MacLaverty’s new novel. (Click on all photos to enlarge)

 

In the latest edition of Scottish Birds, which I receive as a member of the Scottish Ornithologists’ Club, the front cover (below) shows a high-flying and imperious-looking glaucous gull, taken by Iain Leach. It has the equally imperious Latin name of Larus Hyperboreus. I had to look up glaucous which means having a “dull, greyish-green or blue colour” according to the Oxford Dictionary. It is by no means a pretty bird but its magnificent wing span has a multi-patterned elegance.

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Glaucous gull on the front cover of Scottish Birds

On the back cover, an extraordinary photo of a raven (Corvus Corax), taken by Jim Smith. In the notes above the photo (see below), Smith writes that the raven flew down to pick up a piece of bread on the ground, but “It would then rise up higher in the thermals, before flipping on to his back and floating back down”. This appears to me like a raven having fun and laughing at the world, in a look-at-me pose. Note the sharpness of the beak and the feet, appropriate for this often aggressive carnivore. Who would have thought that you might see a raven doing the Fosbury Flop?

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Raven flying on its back by Jim Smith

A more gentle and much more colourful bird can be seen in the photo (see below) by Harry Scott, which featured in an article by R Craig and T Dougall on siskins in a small garden. The siskin (Carduelis Spinus) is a resident bird across the UK but particularly in Scotland. You can see a small flock feeding here. This is a very colourful little bird, with its range of blues and yellows across its body. As it clings to the feeder, its body is compact, with the wing and tail feathers neatly tucked in, but ready for flight at any second. The successive layers of feathers have an abstract look to them and resemble layers of stone that you see on beaches. You can hear more about the siskin and its call in this Tweet of the Day from Radio 4.

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Siskin by Harry Scott

Seagull feast and Sydney Opera House Vivid

June 17, 2018

Another grey day last week. The jet stream was still stuck out in the Atlantic and while most of the UK was in warm sunshine, the east coast of Scotland and England suffered from a strongish NE wind which brought haar in the morning and heavy cloud all day. The wind also whipped up the tide and the gun metal water was only enlivened by the fleeting white of the waves being dragged in by the wind. When the sun is out and the sea reflects the sky’s blue, the tide seems joyous as the waves cavort towards the shore. When it is cold and a dull grey permeates the sky and the sea, the waves still come in but it looks like hard work. For the gulls, however, this was a time of plenty. In the first photo, you can see the herring gulls (adult and juvenile)  and some female eider duck in the water. The gulls are constantly nodding as they feed on a variety of worms, small molluscs and larvae. There is constant action, with the gulls flying up to avoid the incoming waves. The eider duck – the larger dark birds in the water – are unperturbed by the waves and float serenely on the water and then dive at regular intervals to feed. At the bottom of the photo, two gulls take a rest from the action on the stone wall that separates the road from the promenade.

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Gulls feeding on the incoming tide (Click on all photos to enlarge)

In the second photo, the waves cause more action amongst the gulls.

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Seagulls feast on the incoming tide

I did a short video of this scene.

In the centre pages of The Guardian this week, a photo from Guardian Witness section showed the Sydney Opera House during the Vivid Lighting Festival (Photos and video). You can see the vibrant colours that the Opera House takes on during the festival and light show on the Opera House and in the harbour at Circular Quay looks amazing.

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Sydney Opera House during the Vivid festival – submitted to Guardian Witness

I have never been in Sydney during the festival, which has been running for 9 years, but we had many good experiences at the Opera House when visiting Sydney. You can look at the Opera House from many angles when you are there, taking in the whole of the building or just parts of it. The photo below is taken at the back of the building and you would not know, from this angle, that the other “sails” existed. The glass structure is very impressive and contrasts with the opacity of the concrete roof. At the right side, you can see some of Sydney’s skyscrapers which overlook the Opera House.

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A section of Sydney Opera House taken from the rear

Opposite the Opera House is the world famous Sydney Harbour Bridge and when you first see both the Opera House and the bridge, it is hard to say which is the more impressive structure. With its striking towers and solid steel structure, the bridge imposes itself on the harbour and dominates the scene. Sitting at the Opera House when the sun is setting – with a nice glass (or two) of Margaret River Sauvignon Blanc – and looking over to the bridge is a wonderful experience.

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Sydney Harbour Bridge

In the final photo, you can see part of the bridge from the Opera House. From this angle, the bridge looks much smaller, but when you climb the steps and walk to the front of the Opera House, it looms impressively in front of you. No matter how many times you turn the corner from the botanic gardens area and see the Opera House and the bridge, it is still a thrilling sight.

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Art in Florence and autumn in Binning Wood

November 24, 2017

So on to Florence for culture and an exciting football match at Fiorentina‘s stadium, with the home team winning 3-0 against Torino, having survived a potentially calamitous first 20 minutes. When you say to people that you’ve been to Florence, their eyes light up and many tell you how often they’ve been. It’s a culture-stuffed city to visit, with numerous art galleries, museum and public sculptures. This was my second visit to Florence – previous visit here. I hadn’t been to Florence’s most famous art gallery, the Uffizi, so I booked tickets in advance (a wise move, given the queues even in late October) for my pal and me. The Uffizi gallery is, like the Prado in Madrid, huge and has multiple rooms – 101 shown on the floor plan, each with many stunning paintings. If you started at the beginning and worked your way through, it could take weeks. The gallery helpfully provides a free “highlights” brochure and we followed this. The Uffizi is, again like the Prado, heavy on religious paintings, many of them dark and fairly morbid, although the artwork is unquestionably superb. One of the key themes highlighted is how artists over the 14th to 18th centuries portrayed the Madonna and Child, with Giotto’s interpretation (see below) being one of the most famous. Giotto was praised for making the figures appear more human than had been seen in previous interpretations and this was seen as a new style in painting.

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Giotto’s Madonna and Child in the Uffizi Gallery (Click to enlarge all photos)

The gallery’s best known work of art perhaps is Botticelli‘s exquisite Birth of Venus (below) and it is a stunning work of art. There is myth and fantasy in this painting as Venus is shown being carried on a shell to an island. There is so much to see in the painting that you can stand for a long time, admiring the colours, the figures, the sea and the trees. Venus herself is portrayed as a beautiful young woman and Botticelli’s use of nudity was controversial at the time, as eroticism was not approved of in many artistic and political circles.

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Botticelli’s Birth of Venus in the Uffizi Gallery

The 2nd major gallery we visited was the equally extensive Palacio Pitti which houses the massive collections of the Grand Dukes of Florence from the 15th to the 17th centuries. As well as the many works of art on display in the various museums, the Royal Apartments are lavishly decorated (check website) with ornate carpets, curtains, wall hangings and beautifully made furniture (good photos). Once again, religious paintings predominate, as was the main style of the times but there are also some eyebrow raising works, such as Marina by Salvator Rosa. The photo below does not do justice to the impact that this very large painting makes on the viewer. It is full of intriguing elements, from the light house on the right, to the ships in the middle, to the people at the bottom of the painting and the brilliant effect of the sun shining across the scene.

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Marina by Salvator Rosa

Back home and a walk through Binning Wood to delight in the autumn colours and experience the splendour of the leaves still on the trees, although they were falling as we  walked. If there was colour, contrast, light and shade in Florence’s museums, then there is an abundance in this East Lothian wood, which lies just over 6 miles (c11K) from Dunbar. I had cycled past the woods two days before and was determined to take my camera before this autumnal outpouring of colour, shape and texture would disappear as quickly as it appeared. We began our walk on the west side of the woods and walked through to a point where the paths diverge (photo below). In the winter, my pals and I cycle through here on our mountains bikes and would follow the path on the right of the picture. On our walk, my wife and I took the left path, which goes deeper in to the woods. This reminded me of Robert Frost’s great poem “The Road Not Taken” which begins “Two roads diverged in a yellow wood,/ And sorry I could not travel both/ And be one traveler, long I stood/ And looked down one as far as I could/ To where it bent in the undergrowth;”.

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The path divides in Bnning Wood

Frost’s “yellow wood” could be Binning Wood at this time of year, with trees still holding on to leaves of different shades of green and yellow, as in the photo below. The path at this point in the wood was covered with fallen leaves, providing a contrast in colours, with the fresh yellow leaves on the trees and the now orange/brown of the fallen leaves, as well as the various colours on the tree trunks.

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Trees and a leaf strewn path in Binning Wood

The wood continues across the road which leads to nearby Whitekirk (good photos) and I crossed to try and capture the thinner trees here and their shadows on the floor of the wood. The sun was still high enough to hit the smooth and elegant trunks of the trees and cast shadows, which appear to be fallen trees on the ground. Passing the same woods yesterday – 10 days after taking these photos – I could see more branches and much fewer leaves. Another 10 days and they’ll all be gone, so it’s good to be able to capture this fleeting burst of colour.

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Tall trees and shadows in Binning Wood

Called for jury service and Piazza dei Miracoli

November 20, 2017

Note The previous post has been fixed, using Google Chrome, which I am maybe being forced to use for editing?

I was recently called  for jury service at the Sheriff Court in Edinburgh and, although I was not actually selected to serve on the jury, it was a strange experience. Firstly, I arrived at the court to be sent to the Jury Room. Here sat about 50 people, all in a strange environment. Few people spoke to each other and most either checked their mobile phones, read books or stared into space. This was a formal setting, not a social one and it was clear that no-one had any idea how long we would be there, as little information was forthcoming. After an hour, a clerk appeared to tell us that there might be two trials on today and that she would be back in 10 minutes. Half an hour hour later, the clerk reappeared and took us through to court ten, shown here. After another 10 minutes, the phrase “Court rise” was heard and we all – the potential jurors, the court staff and lawyers present – stood up and sat down again. The judge/sheriff talked to one of the lawyers and we could just about her the lawyer say that the trial could not go ahead. The judge thanked us for our attendance and our patience and said that normally, lunch was 1-2pm but there was good news. We all looked up expectantly. The good news was that we could go for lunch early and come back at 2pm as there was definitely another trial to be heard and a jury was needed. This was beginning to appear like the crime novel I’d taken along – too much padding and too little action.

So we all returned at 2pm. Another clerk said that she would be back in 5 minutes to take us through to court 12 for a jury to be selected. One advance in the tale was that there was now only 15 jury members to be selected from the 50 of us and not 2 x 15. The chances of being selected was reduced by 50%. As no-one in the jury room knew how long a trial would last or when we could start making plans again for the next few days, I got the feeling that few people wanted to be selected. 25 minutes later, the clerk took us in to the court and the ballot began. As each name was called out, the picked juror went forward and a collective sigh could be heard amongst the rest of us. Eventually 15 were picked. People started looking at their watches, as in it’s 2.30pm so we’ll be released soon. Hopes were dashed when one juror recognised the accused and was excused. Another selection, another collective sigh. The judge ordered that the clerk read out the charges – sexual assault with details given – again. Then another juror said he could not hear the judge and this man was excused, to whispers amongst the still potential jurors that he might be trying it on. The final selection was made and final sigh of relief uttered, and the great unpicked left the court room and the court. What was interesting was that, by the time the ballot was taking place, I was ready to be picked, having earlier hoped that I could not be. So, an odd day spent in an environment where I had very little control over what I could do, apart from the lunch break.

Edinburgh Sherriff Court (Click on all photos to enlarge)

My pal Roger and I went on our annual trip to a European city to a) see the sights and b) go to a football (aka soccer) match. This year’s holiday started in Pisa, where we stayed 2 nights before going on to Florence to see the game (next blog post). While Pisa is best known for the leaning tower – La Torre Pendente – I think that the other buildings in the Piazza dei Miracoli (includes video), the Square of Miracles in English, are more fascinating. There’s no doubting the uniqueness of the Tower but its attraction is mainly because of a mistake. It is, of course, worth seeing.

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La Torre Pendente, Pisa

Also within the Piazza, is the magnificent cathedral, seen below. It is famous for its marble exterior, Giovanni Pisano’s intricately carved pulpit (close up photos) and high, vaulted ceilings which are brilliantly decorated. Whether you have religious leanings or not, you cannot fail to appreciate the superb artwork and interior design on display.

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Pisa Cathedral

You can also visit the  hugely impressive Battistero (Baptistry), with its high dome and a balcony from which you can look down on the large baptismal font and exquisitely carved pulpit, photo below. The official website refers to the “women’s balcony”, so perhaps women were excluded from the ceremonies below?

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Pisa Battistero

My own favourite building in the Piazza was the Camposanto (good photos). This is the cemetery and inside there are many statues to famous university teachers and members of the powerful Medici family. The most fascinating part of this huge complex are the frescoes which line the walls, as in the photo below. Some of the frescoes are still quite fresh looking, even though they date from the 14th century. The frescoes are of course, mainly religious although there are some battle scenes. A common theme in the range of frescoes is the battle between going to heaven or hell, and you can see why 14th century people might be terrified by the depictions of hell, where the devil is seen as eating humans amid  a scene of torture. It was the violence in so many of the frescoes that intrigued me – designed to inspire but also to threaten. As works of art, these are impressive in their range of colour and detail and well worth a visit.

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Frescoes in the Camposanto, Pisa

Making soup and the Crystal Palace in Madrid

November 3, 2017

Back to normal after a very successful trip to Pisa and Florence, of which more later. There’s an old Scottish saying relating to being on holiday and returning to the usual routine – “It’s back tae auld claes and parritich” i.e. back to old clothes and porridge. It’s not cold enough yet for me to have porridge in the morning but a new pot of soup is welcome all the year round. Today, I was making courgette, and basil soup. It’s fairly straightforward with the following ingredients: 1 medium leek, 4 good sized courgettes, one large potato and dried basil. Now I know that a good many people who read this blog will call courgettes zucchinis. This source claims that there are differences between the two e.g. that courgettes are smaller than zucchinis, but I think that the only real difference is in where the terms are used – courgette in France, the UK and (so the website claims) South Africa and New Zealand; zucchini in Australia and North America. I’m not sure about New Zealand, so a comment on that would be good. To start, sweat your chopped leek in a little oil, to which you have already added the dried basil – amount according to taste. In your solid soup pan, it should look like this i.e. a thing of beauty that might be submitted for the Turner Prize as a work of contemporary art, signifying the integration of human thoughts and deeds across the newly green world. On the other hand, it’s still a thing of beauty but a photo of leeks.

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Leeks sweated in oil and basil. (Click to enlarge all photos)

I never use a processor to chop my vegetables. There is something calming about washing your leek, cutting it into 3 and then slicing it up, although this obviously has overtones of violence. Add the chopped courgette and, magically, you have another potential submission to the prize, representing …mmm you tell me. It now looks and smells very good.

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Chopped courgettes and leeks in basil and oil.

To this, you add the peeled and chopped potato and one litre of the stock of your choice – I used chicken stock cubes. Simmer for about 20 min and take off the heat. I then mashed it down with a potato masher and then liquidised it with my hand-held blender, one of the best kitchen implements in which I have ever invested.

Here is one serving of the soup, with the chopped end of a 70% wholemeal loaf from Dunbar Community Bakery.  This raises another philosophical issue – what do you call the last slice in a loaf of bread? My wife would say heel, while in my family when I was growing up, it was always called the outsider. A relative called it the Tommy – rhyming slang for Tommy Steele perhaps? What did your family call the last slice? Another Turner Prize entrant – the four islands in the speckled green sea: the post-nuclear world. Discuss.

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Courgette and basil soup with fresh bread croutons

For the final posting on Madrid, I swithered between the magnificence of Madrid’s cathedral – especially the internal colours – and the Crystal Palace in El Retiro Park, featured here recently . Having been out cycling this morning in the cool, fresh air and enjoying the autumnal spectacle of the countryside at the moment, I chose the latter. While walking through the large park, it’s easy to miss the sign to the Crystal Palace  or Palacio de Cristal, to give it its proper name. Once you see not only the palace itself but the setting, you cannot be unimpressed. The first photo shows what you see approaching the palace – a light filled building on 3 levels, with beautiful arches over the windows and ornate decoration around the bottom, a close-up of which is shown in the 2nd photo – here is a swan – like, mythical bird, with no feet and a tail of flowers.

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Palacio de Cristal in El Retiro Park, Madrid

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Decoration on tiles at the Palacio de Cristal in El Retiro Park, Madrid

Once you pass the entrance to the palace, which has been closed for a long time for internal redecoration, you can walk around the large pond, with its fountain. You pass the tall, thick-trunked trees whose leaves differed in colour,  from light green to dark green to reddish-brown. You can then see across the pond to the palace. It’s a very peaceful place, made even more pleasant by the late September sunshine and 25 degrees. The final 2 photos show the palace from the side of the pond and from the opposite side of the pond to the palace. This is a slice of remote countryside which has been picked up and placed near the centre of one of Europe’s busiest cities. The Madrilenos are lucky to have it.

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The pond, the trees and the fountain at the Palacio de Cristal in El Retiro Park, Madrid

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Looking across the pond to the Palacio de Cristal in El Retiro Park, Madrid

Robert MacFarlane’s “Lost Words” and the Thyssen-Bornemisra Museum

October 21, 2017

In a recent Guardian Review article, Robert Macfarlane – the well known writer on the British landscape – argues that children need to be reacquainted with the natural world. In the article, Macfarlane cites a Cambridge University study that showed how children aged 4 to 11 were much more likely to identify Pokémon characters (80% accuracy) than common plants and animals in the UK (50% accuracy). One of the conclusions of the report stated “What is the extinction of the condor to a child who has never seen a wren?”. Other studies cited show that adults’ knowledge of wildlife is not much better but 9 out of 10 adults wanted children to have much more knowledge of plants and animals. Macfarlane’s reaction to the reports was that he wanted to write a book for children which might increase their appreciation of the living world, as opposed to the digital world of Pokémon. The reasons for children’s lack of experience and knowledge of nature is well known – more children live in cities and more children spend more time online than out of doors.

The result is what looks like a beautiful book, written by Macfarlane and illustrated by Jackie Morris.

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New book by Robert Macfarlane and Jackie Morris (Click to enlarge all photos)

The article concluded with “The bird which became the guiding, gilding spirit of The Lost Words is the goldfinch. Goldfinches flit across its cover and gleam from its pages”. Macfarlane notes that the collective word for goldfinch is a charm which can also mean the singing of a group of children. Below is a close up of a goldfinch, taken by Harry Scott. This book would make a wonderful present for anyone – adult or child – and if you can combine this with a trip to the countryside or the seaside for the children, Dr Macfarlane would be most pleased. I have just come back from the beach near our house where my nearly 6 year old twin grand daughters saw oystercatchers, plovers and redshanks on the shore, feeding on what was coming in on the tide. So, I’m doing my bit.

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Goldfinch by Harry Scott

One of the highlights of our trip to Madrid was the Thyssen-Bornemisza Museum which can be found opposite the more famous Prado Museum. The Thyssen-Bornemisza has much more modern painting and is less focused on religious painting. It is a very extensive art gallery, with numerous rooms and would take more than one visit to do it justice. I have always been impressed by the American  painter Edward Hopper and there are four of his works here. The first of my selection is Hotel Room (below) and what strikes you is the rather lonely looking woman, sitting on the bed, in her underwear, reading a book. Then there are the colours – the green chair, the black hat, and the white bed which contrasts with the woman’s undergarment. The museum has a short video on this painting which is well worth viewing.

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Hotel Room by Edward Hopper

The 2nd Hopper painting is The “Martha McKeen” of Wellfleet  which is intriguingly named after someone who took Hopper and his wife sailing i.e. there is no yacht with this name. Although the sandbank looks rather fanciful, this is a painting with delicate shades of blue, white and cream, with the movement of the boat emphasised by the undulating waves. I see a spirit of freedom and enjoyment in this painting, on the part of the humans. The seagulls look away, unimpressed and the small, bubbly clouds on the horizon are dominated by a clearer sky above, suggesting a warm summer’s day.

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The “Martha McKeen” of Wellfleet by Edward Hopper

I’ve seen Hopper’s lighthouse paintings before, but Martin Johnson Heade is a new artist for me. His painting Orchid and a Hummingbird Near a Mountain Waterfall was one of the highlights of our visit. It is a stunningly original painting, with its combination of dark and light and the colours of the orchid are reflected in the hummingbird. There is so much to see in this work – shapes, patterns, the real and what I see as the surreal combined – that you can find yourself standing in front of the painting for quite a while. The detail on the plant and the bird are superb.

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Orchid and Hummingbird near a Waterfall by Martin Johnson Heade

So an exhilarating visit to this museum in Madrid which is not to be missed if you are in the city. No blog next week as I’m off to Pisa and Florence with my pal to take in the sights and a football (aka soccer) game.