In addition to its canals, the dockside in the old harbour, the Gravensteenor Castle of the Counts of Flanders, the City Hall and the Korenmarkt, one of Ghent’s major attractions is an altarpiece. Granted, it might not sound overly exciting or novel at first glance. If we add that it is one of the masterpieces of Flemish painting and the cornerstone in the transition from medieval to Renaissance art, it might start arousing some interest. And, that it is one of the artworks which, in the course of history, has been stolen most often, as well as having travelled through many countries, you are bound to see it in a different light.

The masterpiece in question is the Polyptych of The Adoration of the Mystic Lamb,also known as the Ghent Altarpiece, the work of the brothers Hubert and Jan van Eyck. It is located on the high altar in St Bavo Cathedral and was executed in 1426, commissioned by Joost Vijdt and his wife, Lysbette Borluut. The altarpiece consists of 12 panels painted in oil on both sides and measuring 3.5 m high by 4.6 m wide. It remains closed most of the year, and is only opened on festive holidays, revealing all its splendour. The paintings on the outer panels are more sober, with a marked sculptural air, the central theme being the Annunciation. A noteworthy highlight of the inner panels is their colouring, with a Deësis of Christ the King, the Virgin Mary and John the Baptist as the prominent upper feature, and the Adoration of the Lamb in the lower centre. Without going into the subject, the symbology and details behind the scenes of the altarpiece would fill a whole book.

The startling vicissitudes affecting this artwork date from 1566, when the retable had to be dismantled and concealed in the City Hall to preserve it from an assault by Calvinist iconoclasts.

In 1781, the two upper panels, depicting Adam and Eve, were removed from the ensemble, as Joseph II of Bohemia and Hungary found the nakedness of the figures disagreeable. In the 19th century, the panels were replaced with clothed versions of Adam and Eve, executed by the Belgian painter, Victor Lagye.

In 1800, the Napoleonic troops regarded it as the spoils of war – the wings were sectioned off and sold, while the central panels ended up in the Louvre. Once Napoleon had been defeated, the panels were restored to their rightful place in Ghent. But not for long.

In 1816, the vicar of St Bavo sold several of the side panels, which passed through a number of hands before coming into the possession of Wilhelm II, King of Prussia. They ended up being displayed at the Kaiser Friedrich Museum in Berlin. To provide a better view of them, the panels were sectioned lengthwise to reveal the obverse and reverse sides in the same plane. At the end of the First World War, among the multitude of artworks Germany was forced to return were these panels, which were again replaced in their original site.

In 1934, the panel of The Just Judges was stolen and a ransom of one million Belgian francs was demanded for its safe return, but the deal was rejected. It is still missing to this day and has been replaced by a copy, the work of the Brussels Fine Arts Museum curator, Jef Van der Veken.

Needless to say, the altarpiece was not left unscathed by the Second World War either, forming part of the large-scale plunder perpetrated by the Nazis. After a complex hunt for stolen art undertaken by the so-called “Monuments Men”, it was located in the Altaussee salt mine in the Austrian Alps.

The altarpiece is currently being restored, so not all the panels are on display in St Bavo Cathedral. To make up for this, those interested can follow the restoration project live in the Ghent Fine Arts Museum (MSK).

Now that you’re up to speed with all the ins and outs behind this marvellous artwork, we recommend you get hold of a Vueling and see it for yourself. And, don’t leave it too long, in case it gets stolen again!

Text by ISABELYLUIS Comunicación

Modernism emerged in the late-19th and early-20th century, marking a break in style with the past, in line with the prevailing cosmopolitan, entrepreneurial mindset of the moment.

In 1883, the city needed to expand, leading to the construction of its famous Ensanche district,which spans the present-day streets of Juana de Vega,Picavia,Feijoo, Plaza de Lugo and Plaza de Pontevedra.

With the wealth they had acquired from foreign trade, the local bourgeoisie commissioned luxury residences in this new area, modelled on those of Vienna, Paris, Prague, Budapest and Berlin, in an outward show of their prosperity and cultural pursuits. This enabled them to distinguish themselves from the old Corunnan aristocracy, who still lived in the Ciudad Alta and Ciudad Vieja districts in dilapidated mansions with dark rooms, lacking proper ventilation or glazed window balconies, with their backs to the sea and to modernity.

Strictly speaking, Modernism came to the city in 1906 with the arrival of the Cuban architect, Ricardo Boán y Callejas, and the Corunnan architect ,Antonio López Hernández, who brought the new trends in building design from Austria, Switzerland and Germany. They also brought journals, catalogues and photos from those countries featuring designs by the Austrian, Otto Wagner, and the Belgian, Victor Horta.

One of the most striking features of these houses are the female faces adorning some of the buildings that are still standing. They were mostly inspired by the countenance of an English lady, Elizabeth Siddal, the wife of the Pre-Raphaelite painter, Dante Gabriel Rossetti. She was immortalised in the guise of her languid, enigmatic beauty and her long tresses following her death from an overdose of laudanum, a mixture of opium and alcohol.

Modernism in A Coruña was influenced by the ornamental style of the English architect, Owen Jones (1808-1874). Local artists decorated the facades and doorways with irises, horse-chestnut leaves, water plants, roses and camellias in multi-coloured garlands which seem to reach out to the passer-by and lavish pleasure on the senses.

Galleries are awash with the Mackintosh Rose motif of Charles Rennie Mackintosh, as well as twirling, sap-bearing plant stems. The transparent glass surfaces spread out among them like dragonfly wings. However, Japanese influences also come to the fore in the form of embossed irises, reeds and butterflies on lilies, star-shaped holly leaves and lotus flowers framing windows and lifts, by way of a country-like, ecological architecture. Enjoy a Modernist route through the city – download the guide here.

Modernist Top 5 in A Coruña

1. Casa Rey (1911)

The work of Julio Galán, his architecture distils the essence of the glass city. The rippling cornice, the Mudéjar inspired glazed ceramics and the wrought iron balconies made in the Wonenburger foundry make it a veritable dolls house for the ladies of those times that adorned its balconies with their head-dresses of gardenias and palm leaves. Chocolate was one of the exotic wares shipped from the Indies and other colonies to the port of A Coruña, and chocolateries dating from that period are still open to the public on the streets of Riego de Agua, Plaza de Lugo and Estrecha de San Andrés. Hence the origin of the popular Corunnan demonym ofcascarilleiros(huskers),an allusion to the cocoa husks which filled the streets with their aroma. Plaza de María Pita, 12.

2. Casa Molina (1915)

Designed by Rafael González Villar. The building was the home of Don Raimundo Molina, a representative of Royal Dutch Lloyd and consul of the Netherlands. He was also the father of the well-known mayor, Don Alfonso Molina. Influenced by the Italian Modernism of Turin, the garlands and draped ribbons of the building form a theatrical final curtain to the Old City. C/ Santiago, 2.

3. Kiosko Alfonso (1912)

Also designed by Rafael González Villar, this is a magnificent example of early-20th-century recreational architecture. With its rectangular floor plan, it operated as a café, music hall and cinema, the central screen of which divided the auditorium into two rooms. In the first room, the audience saw the positive film, while a negative of the film could be viewed at a lower fee from the other. Converted into an exhibition hall in 1982, the original Modernist decoration is still intact, including dragons which surround and immerse the audience in a world of mystery and fantasy. Jardines de Méndez Núñez.

4. Compostela, 8 (1910)

Also the work of Julio Galán Carbajal. The foyer, with access at no. 8 Calle Compostela, is the most striking entrance hall in the city. Walls, ceilings and the archway leading into the lift turn the space into an original stuccowork greenhouse, brimming with intertwined water plants, lotuses, lilies and irises. The lions at the entrance, the eagle and the caryatids on the cornice form a symbolic defence of the house’s residents, reminiscent of ancient Persian palaces.

5. Plaza de Lugo, 13 (1912)

Lastly, this bourgeois residence designed by Antonio López Hernández, linked to the family of the Corunnan actor, Fernando Casado Arambillet (better known as Fernando Rey), features overflowing ornamentation as an outward show of the economic prowess of its residents. It is theatrically adorned with a large garland of roses, leading the eye towards the huge female caryatid dominating the ensemble. The decorative syntax makes this the most beautiful building in A Coruña.

Don’t wait to see these Modernist architectural jewels in A Coruña. Check out our flights here.

Turismo A Coruña

Marrakech is mayhem and no one who has set foot in that Moroccan city will ever claim otherwise. It’s a happy form of bedlam for those who like excitement, but a stressful and terribly unpredictable place for those who like to exercise strict control. We advise the latter to take a Vueling to Zurich with their family and enjoy the placid feeling of a place where everything works and a scrumptious fondue is easy to come by. As for the rest of you – we recommend you follow us on this fantastic adventure.

Marrakech is the sort of place where someone accosts you every three steps you take, touting to sell you something or lead you to someone’s shop, offer you a guided tour of the city, drape a snake around your neck, tattoo you, make you an orange juice, walk with you and his monkey – which he wants you to hold by the hand – or fill your bag with perfumes, spices, soaps and beautiful decorative objects that appear to have leaped out of A Thousand and One Nights. All this happens as you dodge to avoid horse-drawn carts rolling to the cry of “Cheap carriage ride, María”, donkeys and other fauna that throng the streets, as you have your photo taken with a chameleon, visit palaces that until then were just a figment of your imagination and chatter about the latest exploits of Barça with men of all ages who cross your path.

This Moroccan city is pure magic, a delightful, fascinating chaos with whiffs of spice and mint tea – sometimes of horse dung, too, but, what the heck! – where any adventure lover is bound to have a whale of a time. And, who better than children to imbibe such a place, different from anything they’ve ever seen before, and abandon themselves to the stream of outlandish characters and situations that will punctuate their stay in Marrakech and make it unforgettable.

The first place the young ones are going to be infatuated with is Jemaa el Fna Square, the nerve centre of the Medina, where one of the most enchanting gastronomic festivals in the world strikes up as night falls. The smell of delicious spicy meat starts to waft out from the street stalls, and of hummus, couscous, tajine, salads and other specialities, sold for a sou. Some are reluctant to sit down to a table in that street market for fear of food poisoning, contaminated water and possible adverse effects on their digestive system. But, just by making sure the cutlery is clean and dry, and avoiding raw food, you can take part in an extravaganza that even Sublimotion can’t touch.

The same square has numerous restaurants with a view, providing angles to gawk at the ongoing revelry in Jemaa el Fna. One of our favourites is Aqua (68 Jemaa el Fna); their top-floor terrace affords privileged views of the square and the homemade Moroccan food is quite good. They also have pasta, pizza, sandwiches and other international dishes, which is great if you want to get away from local cuisine for a day.

We press on with the family gastro route through Marrakech and sit down to a table at a venue which is marvellously unclassifiable – Clock Cafe, one of the few hipster eateries in town, a spot which could be in London or Berlin but has nevertheless retained its Arab essence. Prices here border on those in Europe, their piped music is indie pop, their chairs are yellow, the walls are scrawled with graffiti and they serve a brilliant chicken and caramelised onion couscous, although the kids are more likely to go for the camel hamburgers, one of the star performers of the house. If the weather is cold – which it might be during the Marrakech winter – their fireplace will be your best friend.

Another spot well worth stopping off at is Nid’Cigogne (60 Place des Tombeaux Saadiens), a spacious, three-storey restaurant next door to the Saadian Tombs where the children can have fun with the cats roaming the terrace, enjoy the simple dishes, ranging from sandwiches to Moroccan stews, and take a break for a few hours from the incessant bustle of Marrakech. The service is friendly and, as is the case throughout this fairy-tale city, children are always welcome and are treated kindly, respectfully and effusively.

Lastly, while your options are endless, do make a point of having tea in the pretty Marrakech Henna Art Cafe, where you can get a henna tattoo and taste their little pastries while you wait. You can also dive into a delicious snack of hummus and vegetable couscous at a reasonable price, and pick up some of the souvenirs on sale inside.

Armed with a basketful of craftwork, spices, soaps, multi-coloured babouches and thousands of unforgettable memories, you will have enjoyed a family experience filled with hours of laughter and a stream of wonderful stories to tell. Well, where else in the world are you likely to come across a serious-looking character dressed in a djellaba who stops your little boy in the street and calls out, “Hello, little Nicholas!”. Book your Vueling to Marrakech and get ready to live out the experience for yourself.

Text and photos by Laura Conde of Gastronomistas.com

The idea is not new. For some years now, these artificial urban beaches have popped up each summer in Berlin, Hamburg and under the bridges of the river Seine in Paris. You won’t have to cram the whole family into your car, or embark on a long, hot journey to feel the sand under your feet and freshen up in the water. In Brussels, this tropical paradise is known as Les Bains de Bruxelles and it lasts for five weeks on the Quai des Péniches, along the Brussels Canal. It opens from 11 a.m. to 10 p.m. on Tuesdays, Wednesdays, Thursdays and Sundays, and from 11 a.m. to 11 p.m. on Fridays and Saturdays.

True, there aren’t many waves, but some ingenuity has been applied to making the beach as attractive as possible; indeed, it draws an extremely diverse crowd of beach-goers. The 6,000 m² of sand are dotted with deck-chairs, palm trees and coconut palms, striped sunshades and beach bars serving vividly coloured cold beverages. The atmosphere is a family one during the day and sports activities include beach football, volleyball, boule and ping-pong, as well as games for young children. Pedalos and kayaks can be hired at reasonable prices on Sundays. You can also go for a ride along the canal on board the Bruxelles les Bains, which offers various tours – the short one takes 55 minutes; the longest one is a 2-hour cruise, and there is also a “cocktail cruise”, by night – while the harbour’s history and geography is expounded on by a guide.

This chill-out on the beach is accompanied by the Let It Beach festival, now in its third year. A variety of concerts liven up the evening on weekends, while on Fridays the music turns to folk, rock, pop and hip-hop. Jazz and world music take centre stage on Saturdays. The Sunday programmes target the younger set, with workshops, dances and, of course, more concerts. Night reverie is bolstered by free sessions of Croisetteke, every day from 6 p.m. on, in addition to theBoat Club,an exclusive floating club which hosts the liveliest parties in Brussels.

Not Without My Ice-cream!

When the thermometer seems to be driving endlessly upwards, another delicious way of keeping cool is to have an ice-cream. And, for those who can’t contemplate a day at the seaside without ice-cream, here are some of the best parlours in town:

Comus & Gasterea (Quai aux Briques, 86)

A place for trying the newest and most unusual flavours. It features some of the strangest ice-creams in the world, with such flavours as caviar, olive oil, Roquefort, lichi, wasabi aubergine and basil, home-made and free of additives or colouring agents. All you need is to be patient, as queues can sometimes build up outside its doors.

Capoue (Rue de Wand, 112)

Chez Capoue is one of the oldest ice-cream parlours in Brussels and, while at Comus & Gasterea you find the most unusual flavours, in Capoue they make the most daring combinations, notably bounty, blood orange and spiced bread. They are also have them sugar-free for diabetics, or lactose-free for those allergic to dairy.

Il Monello (Chaussée de Charleroi, 31 -33)

While Il Monello opened only recently, it has already made a name for itself in the city for its traditional pastries and homemade ice-creams. They also serve the latter atop a waffle for those seeking consistency (or calories).

Zizi (Rue de la Mutualité, 57A)

Zizi, a veritable institution in Brussels, is the city’s best-known ice-cream parlour. In the sixty years they have been open, they have never altered their manufacturing process. The flavours are natural and free of colouring agents.

Brussels Rules!

Brussels is a refreshing destination this summer, but not only because of its urban beach. Throughout the summer, every Friday from 5 p.m. to 11.30 p.m., the Apéros Urbains or animated afterworks are held in some of the most attractive spots in the city. Also featured is the Midis Minimes classical music festival, with daily concerts lasting 35 minutes from 12.15 p.m. (until 28 August), held in the Church of Saint-Jean et Etienne aux Minimes and in the Conservatorio Real.

Come and experience it for yourself. Come on! Pick up your towel and check out the flights to… Brussels!

Text by Scanner FM

Images by Eric Danhier