Milan is celebrated as having one of the highest economic development rates among Italy’s cities. It is also famed for being one of the international hubs of fashion and design. When considering a trip to this incredible city, we inevitably think of attending one of its great fashion shows, roaming through its boundless Furniture Fair or delighting in window shopping its fabulous stores and splashing out on the amazing apparel, if we can afford it.

Some head for Milan to soak up its cultural assets by visiting its most emblematic monuments, notably the Duomo or the Castello Sforzesco, relishing the artworks housed in the Pinacoteca di Brera, the Pinacoteca Ambrosiana and the Museo del Novecento, or venturing into the Church of Santa Maria delle Grazie. There, the art lover is greeted by one of the icons of art history, Leonardo da Vinci’s The Last Supper. Then again, others prefer to don their finery to attend an opera performance in the iconic Teatro alla Scala.

The Carnevale Ambrosiano

No less celebrated is one of Milan’s more spirited, entertaining facets – its Carnival. When the subject of Italy’s carnivals comes up, it is common to talk about the two most popular instances in the land. First, the Venice Carnival, with its magnificent face masks and spectacular period costumes, which unfolds against the magical backdrop of that unique city. The other is the Viareggio Carnival, where festival-goers never fail to be amazed by the mechanical ingenuity of the floats that file past during the parade.

The Carnevale Ambrosiano, as Milan’s carnival is known, offers a peculiarity which makes it stand out from the rest – its duration. Carnival usually ends on Carnival Tuesday, also known as Mardi Gras, which then gives way to Ash Wednesday, marking the start of Lent. In the case of Milan, it extends four more days, lasting until the Saturday, known locally as Sabato Grasso. And, it’s not merely because of some whim, as the reason for its duration is related to a long-standing legend. It is said that the bishop, St Ambrose, the patron saint of Milan, who happened to be on a long pilgrimage in foreign lands, requested an extension of Carnival until his return to the city, as he wished to celebrate the start of Lent with all his people.

Like any noteworthy carnival, the Milan Carnival prizes itself on its parades and street festivities, characterised by a fanfare of colour, music and festive atmosphere. On the Saturday, the crowning event is a grand parade which ends in one of the city’s most emblematic spots, the Piazza del Duomo.

One of the standout aspects of this Carnival is the traditional costume known as the Meneghino. Just as the figure of the harlequin is traditional in Bergamo, or Pantaleon in Venice, the Milan Carnival has its own popular figure, drawn from the Italian Commedia dell'arte. TheMeneghinocan be spotted by his three-cornered hat.

Among the traditional confectionery loved by the Milanese are the chiacchiere and bugie, simple fried pastries made of flour and coated in castor sugar which are ideal for topping up your strength between one street party and the next.

Don your mask and come to Milan to delight in its Carnival!

Text by ISABELYLUIS Comunicación

Images by gnuckx

Valencia is not all Calatrava and paella, just as Barcelona does not account for all of Spain’s Modernist buildings – well, someone had to say it! Clichés aside, if there is anything the first-time visitor to Valencia is likely to be amazed at it is the sheer quantity and quality of its Modernist heritage. It hits you as you wander down its streets, particularly in the historic centre and the Ensanche.

Valencia saw marked urban development in the late-19th century, the upshot of its economic boom at the time. The city grew beyond its old walled precinct, giving rise to an overspill known as the Ensanche. The expansion coincided with one of the burgeoning art movements of the moment, one that would become all the rage among Europe’s middle classes. The movement became known as Modernism, elsewhere dubbed Art Nouveau, Modern Style, Jugendstil, Liberty or Floreale, depending on the country. Not to be outdone, the Valencian middle classes became enthralled by this new style, which a marked a break with the prevailing academic tradition. Its artificers were inspired by nature and experimented with new applications of iron and glass in architecture.

Valencian Modernism is characterised by the use of glazed ceramics on facades and in interiors, which usually feature motifs associated with the region, notably oranges and orange blossom. Among the standout buildings, which you should make a point of visiting on your itinerary of Valencia’s Modernist heritage, are the following:

- Mercat Central. Built in 1914 and designed by Francesc Guàrdia i Vial and Alexandre Soler, both of whom trained at the Barcelona School of Architecture, this is one of the city’s major tourist attractions and it’s not for nothing. The interior metallic structure is painted white, making the colours of wares sold in the stalls stand out all the more. Further, visitors are met by the striking, spectacular central dome, which floods the interior with light. Both the stunning architecture and the congenial atmosphere in the market make this a must-visit for all sightseers in the city.

- Mercado de Colón. Inaugurated in 1916 and designed by Francisco Mora Berenguer, it was commissioned to provide services for the Ensanche district. Prominent is the ornamented brick facade, decorated with a host of ceramic figures – it couldn’t be otherwise! Restored in 2003, the interior now houses various shops, cafés and bars.

- Estación del Norte. Passengers arriving in Valencia by train are rewarded with the sight of this marvellous station. Opened in 1917, it boasts some beautiful areas, notably the vestibule, decorated in wood, glazed ceramics and marble.

- Casa Ordeig. Located next to the Mercat Central, it was designed by Francisco de Mora i Berenguer. He drew inspiration from the Lonja de la Seda (Silk Exchange), which accounts for the Neo-Gothic motifs on the facade.

- Edificio Suay. This grand edifice with its white facade is located on the corner of Calle Correos and the Plaza del Ayuntamiento. It was designed by the same architect as the Casa Ordeig.

- Edificio de los Dragones. Located on the corner of Calle Sorni and Calle Jorge Juan, it was designed by José María Manuel Cortina Pérez and built in 1901. Its Neo-Gothic-inspired decoration is striking and features a profusion of mythical animals, particularly dragons – hence its name.

Apart from the aforementioned landmarks, we recommend you take a stroll along Calle de la Paz, where you will come across numerous Modernist buildings, including the Edificio Camaña Laymon, Edificio Sancho, Casa Gray, and Casa Sagnier I and II.

Ready to discover one of Valencia’s most alluring and evocative architectural facets? Book your flight here.

Text by Los Viajes de ISABELYLUIS

Images by Jocelyn Kinghorn, Marja van Bochove, Carquinyol, Pleuntje, Paul Thompson

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

Situated just under an hour and a half from Barcelona lies the city of Tarragona, its Roman and medieval past providing visitors with an amazing wealth of history and art. However, this cultural journey goes beyond the city limits – inland we find the three gems of the Cistercian route, as well as the landscapes that inspired such artists as Antoni Gaudí and Joan Miró. What more could you ask for?

Itinerary 1: the Roman Legacy

Tarraco – Roman Tarragona
What was once the capital of the province of Hispania Tarraconensis still preserves numerous vestiges of that splendid past. Designated a World Heritage Site in 2000, travellers to the city will be dazzled by the Roman wall, the provincial forum, the circus, amphitheatre and a host of remains awaiting them on their walks through ancient Tarraco. You can join a guided tour at Auriga Serveis Culturals so as not to miss any details of that legacy.

Roman Villa of Centcelles
Just six kilometres from Tarragona, in Constantí, lies the Roman villa of Centcelles, a landmark monument of palaeo-Christian art. One of the highlights of that site is the dome ornamented with a Christian-themed mosaic, one of the oldest surviving examples from the Roman world.

Roman Villa of Els Munts
Located in Altafulla, 12 kilometres from Tarragona, is the villa of Els Munts. It was apparently used for agricultural purposes and still displays constructions featuring richly decorated elements.

Itinerary 2: a Splendid Medieval Past

Jewels of the Cistercian Route
The three jewels that make up this magnificent route through Cistercian monasteries are the Monastery of Santes Creus, with its stunning chapterhouse and Gothic cloister, the Monastery of Vallbona, a 12th-century nunnery boasting a monumental church and cloister and – the most popular of all – the Monastery of Poblet, a UNESCO World Heritage Site with its magnificent cloister and royal pantheon where King James I the Conqueror is buried, among others.

Montblanc – Medieval Spirit
Montblanc is one of the paramount medieval complexes in Catalonia, thanks to its excellent state of preservation. Make a point of exploring it and wandering through its streets, where you are sure to be transported to medieval times. Or, if you prefer, you can sign up for one of the routes organised by the Town Council, featuring options to suit all tastes.

Siurana – the Stuff of Legend
This village in the Priorat, which seems to have leaped out of some novel, was one of the last Moorish enclaves in Catalonia which managed to hold out and check the Christian advance. Turismo de Siurana offers dramatised guided tours highlighting stories, tales and legends about the area.

Discover the First Charterhouse on the Iberian Peninsula
Built in the 12th century in the Priorat county, the Carthusian Monastery of Escaladei is regarded as the earliest Carthusian monastery to emerge on the Iberian Peninsula. Those parts of the charterhouse currently open to the public include the three cloisters, church, refectory and a monk’s cell which has been reconstructed down to the last detail.

Itinerary 3: In the Footsteps of Miró and Gaudí

Mont-roig – Source of Inspiration for Joan Miró
Joan Miró first visited Mont-roig del Camp in 1911, when he was 18 years old. The landscape made such an impact on him that it became his habitual place of pilgrimage, a town he would return to time and again in search of peace and inspiration. Well worth visiting is the Centre Miró where you can acquire greater insight into the relationship between the artistic genius and the town and its surroundings.

Searching For the Origins of Gaudí
Just 18 kilometres from Tarragona lies the small town of Riudoms, site of the house where Antoni Gaudí was born. Open to the public, it reveals the origins of this unique artist and the environment which was to influence his work. Interesting, isn’t it?

Text by Agencia Catalana de Turismo