Fondation Louis Vuitton: Wow!

Visiting the Fondation Louis Vuitton (“FLV”) was high on our list of things to do during our current month in Paris. Under construction for twelve years and costing nearly $135 million dollars, the privately-owned contemporary art “museum”/exhibition hall is a one-of-a-kind work of art itself. The building was still under construction on our last visit to the surrounding park, so we were really looking forward to seeing the finished structure. All I can say is “Wow!” Talk about exceeding expectations. An immense assymetrical collection of gleaming white structures clad in glass “sails” on steel and wood supports, FLV joins the panoply of great Parisian landmarks. It’s an architectural and engineering feat not to be missed.

Visitor entrance to FLV

Through March 7, 2018, FLV is hosting Being Modern: MoMA in Paris. It’s an impressive exhibit of some iconic works of modern art from the famous New York museum and we thoroughly enjoyed it: Picasso, Litchenstein, Rothko, Pollack, Warhol, Kahlo and many, many more. There’s sculpture and film, a wonderful 40-speaker audio of the Salisbury choir, whimsical found objects, industrial “art”, architectural maquettes and actual pieces of dissembled buildings.

High ceilings and good lighting make the FLV a pleasant art venue

It’s all big fun and I highly recommend “Being Modern: MoMA in Paris” for modern art fans, but the real show for us was the FLV building itself.  We spent over four hours wandering the wild, sweeping expanses of the FLV, enjoying the art as well as the rooftop terraces, sky-lit rooms and exposed stairways.

Looking down on the lobby from the 2nd floor of the MoMA exhibition

The rooftop terraces offer intriguing insights into the building as well as sweeping views over the adjacent Jardin d’Acclimitation (a charming old children’s amusement park, petting zoo and equestrian center) and La Defense, Paris’ skyscraper dotted western business district.

Stairway between rooftop terraces

We bought amazing rich, dark hot chocolate by renowned Belgian chocolatier, Pierre Marcolini, from a cart on one terrace. On another terrace, Alto Café provided refreshments.

FLV has no standing art exhibit; it’s really just an enormous exhibition hall(s) and auditorium. The only standing display is a multi-story offering on the design and construction of the building contained in small spaces on each floor. One staircase was deliberately left “unfinished” as well so visitors can view the exposed structural elements.

Stairs with exposed structural elements
Auditorium with waterfall in background

For an added bonus, we exited through the back of FLV for a better view of the waterfall we’d see on our approach and free access to the Jardin d’Acclimatation. Trees in blazing fall finery made the pretty park even more spectacular than usual.

The Jardin d’Acclimatation in fall splendor
Looking back at FLV from the Jardin d’Acclimatation

Practical info: Buy tickets for specific times online (every half hour from around 9am-7pm, with some variation). Tickets for the MoMA exhibit are €16 for adults, €10 for 18-26, €5 for under-18’s. There are reductions for teachers, artists, unemployed-seeking-work, etc. Check the web site to see if any of that applies.

FLV is about a 10-minute walk from Les Sablons Métro stop on Line 1, west of the Arc de Triomphe/Étoile. There’s also a FLV shuttle that runs from near the Arc de Tiomphe directly to FLV for €2 per person.

Find lots of useful info here, including a handy calendar that shows peak and lull times so you can try to avoid crowds. The building is so large, though, that we never really felt crowded.

There is a gift shop with items related to FLV and the current exhibition. There’s also a pricey restaurant, Le Frank:

Fish lights by FLV architect Frank Gehry “swim” over restaurant Le Frank

Musée d’Ennery: Oriental art in a Paris mansion

How could I pass up the chance to see the inside of a private mansion (“hôtel particulier”) on swanky Avenue Foch and a reputedly extensive oriental art collection for free? Obviously, I couldn’t!

Front exterior of the Musée d’Ennery

The Musée d’Ennery is the former home of Clémence d’Ennery, a well-known actress of her day and an avid collector of oriental objets d’art. She deeded her collection to the Musée Guimet with the proviso that the collection be kept intact in her home. After some legal wrangling with her older playwright husband, who unexpectedly outlived her, her wish has been fulfilled (save for one lacquered trunk on display at the Guimet as an enticement to visit the Musée d’Ennery).

After stowing things in a locker, we waited here for the tour to begin.
Details of the main foyer

The Musee d’Ennery is only available by pre-booked 1-hour guided tour, in French only. (Details are at the bottom of this post.) That said, it’s easy to book online by email and, even if you don’t speak French, it’s a real treat for the eyes. (My husband’s French was not fluent enough for him to keep up with the rapid-fire French of our knowledgeable guide, but he was not at all bored and glad we took the tour.)

First room with display cases

Our guide did not neglect the basics of her subject. For example, she explained the difference between the little netsuke figurines and the smaller ojime “beads” used to fasten clothing cords in place of/in addition to knots. She also explained the lack of pockets in Japanese clothing that led to the use of these objects. When an item held particular interest, was unusual or unusually valuable, she paused to elaborate.

First room clock, display case and architectural details
Transition room/antechamber between first room and main salon with more display cases of netsuke (figurines) and other oriental objets d’art

While I enjoy oriental art, I am no connoisseur and was primarily interested in getting inside a new-to-me Parisian mansion. I wasn’t disappointed. The mansion is gorgeous, the architectural details fabulous. Our guide offered insights into the collection and the former owner. Apparently, Clémence d’Ennery didn’t actually know a lot about oriental art; she simply bought what she liked. She did develop relationships with knowledgeable dealers, though, and her taste matured. The result is that there are cheap pieces among her collection along with priceless items. I thought her simple desire for beauty, as she saw it, it added to the charm.

Main salon
Display case with netsuke in the main salon
Main salon
Architectural details of the main salon
Ceramic deer and netsuke (figurines) in main salon

I love the Parisian museums located in former homes, giving a glimpse into another lifestyle. (The Nissim de Comondo is one of my favorites of the type, preserving living quarters, kitchen, bathrooms as well as living and entertaining rooms. More often, personal rooms have been converted into typical museum-type spaces or closed to the public; a little disappointing, but still worthwhile.)  Visitors to the Musée d’Ennery  are only allowed into the common areas/salon and entertaining rooms, which are all overflowing with the sheer volume of Clémence d’Ennery’s amazing collection. Bedrooms, the kitchen, etc. are not open to the public.

Salon with oriental masks
View of interior courtyard from salon with masks
Lacquered trunks (rounded tops made for European export) in salon with masks

The lighting is unfortunately poor in the many display cabinets, but the guides had no problem with people using their phones to occasionally shine lights on the curios. They also did not stop anyone from taking non-flash photographs (which people were openly doing) although the confirmation email said they were forbidden. There were 12 people in our group, so maybe it is more a matter of photo-taking causing logistical problems with larger groups.

Ornate salon with giant mirror, alcove (opposite mirror to left out of photo) and display cases
Detail of decorative column bordering alcove in ornate salon
Ornate salon looking back towards salon with masks (alcove behind display cases in back right corner)

Practical Info:

The Musée d’Ennery is only open to individuals on Saturdays (except holidays) at 11:30am by pre-booked guided tour in French only. To book the tour, email the Guimet at resa@guimet.fr. I emailed on a  mid-November Friday and asked to be included either the next day or the following Saturday and received a prompt reply saying we were in the following Saturday’s tour and asking us to arrive 10 minutes early. Names were checked off when we arrived. There are free, keyed lockers on the ground floor to leave coats, bags, etc. before beginning the tour.

See details and possibilities for pre-booked group tours online here. (Scroll to the bottom for specifics on the Musée d’Ennery. If you do not read French and are using the Chrome browser, just right click anywhere on the page and ask Google to translate to English.)

Find more on the history of the Musée d’Ennery here.

We joined a group waiting on the sidewalk at 11:20am until the gate was opened promptly at 11:30am.

À l’Infintiste: creative fine dining in Antwerp with a self-serve twist

Interior of À l’Infintinste, pre-dinner

I had to do a quick restaurant review on a little place in Antwerp we finally had a chance to try called À l’Infintiste. It can take months to get a reservation for this tiny restaurant that has only one 16-person sitting for dinner. The set-up is unique: for €46 you get a creative 5-course dinner served by the chef (who also buses tables and cleans dishes); for everything else you serve yourself. Want bread? Fetch it yourself. There’s a basket, butter, olive oil for the taking, too. Same goes for an aperitif; there are two types of gin on offer. Bottles of red and white wine are in two separate refrigerators, along with still and sparkling water, champagne and other beverages. The price list is taped to the side of one fridge. Corkscrews are in a drawer by the bread. If you prefer wine by the glass, that’s available, too. There’s a fill-in-the-blank receipt on the table, along with a pen and a calculator. When you finish dinner, just fill in what you’ve consumed, total it up and leave cash. (No credit cards accepted.) While it’s not cheap, the low-service business model lets the chef keep prices reasonable for what turned out to be a really special meal.

Our first “apéro” was hands-down the most whimsical (and fun!) and a signature starter at À l’Infintiste: A wooden cigar box, modified so that the label read “Foiehiba,” a play on the famous Cuban cigar brand “Cohiba.” Inside were two “cigars,” “hand rolled” crispy outsides filled with luscious foie gras. The foie gras cigars were served with a cognac snifter of bouillon de veau and an ashtray filled with faux ashes made from roasted pepper and powdered milk. The effect was charming and the foie gras some of the best I’ve had. I’d have loved a box full of those fake cigars!

Hamming it up with faux cigar and cognac apéro

The second amuse bouche was a pork quenelle topped with a piccalilly foam with a crunchy topping. Although good, this was probably my least favorite course, mostly because the flavor combination reminded me of deviled ham with Miracle Whip. For David and me, the taste was a blast from our American childhoods and seemed to call out for Wonder Bread and a glass of milk.

Pork quenelle with piccalilly foam

The appetizer course put the big smiles back on our faces: A gorgeous confection of a shrimp cocktail made with melon, radishes, leeks, avocado, black sesame seeds and a crispy lotus root disc, served with a side dish of piping hot fried shrimp with a wasabi dip.

Shrimp salad and fried shrimp appetizer

The chef, a charming, friendly host, gave us the option of fish or meat for our main course. (He speaks functional English and made us feel very welcome despite our language deficiencies.) David and I both opted for the venison. (At the chef’s suggestion, we’d chosen a 2016 The Chocolate Block red wine from South Africa. Big and bold, this wine is a blend of 79% Syrah, 11% Grenache, 6% Cabernet Sauvignon, 3% Cinsault and 1% Viognier. It turned out to be a great match for the venison.)

The busy and very well-organized chef, mid-meal

The venison arrived on a bed of roasted parsnips and chestnut purée and topped with crispy root vegetable chips and beet leaves. We both marveled at how perfectly tender and moist the venison steak was, although David thought it was a touch too well-done. The meat had a color that suggested sous vide pre-prep.

Venison and winter root vegetables

Dessert was Poire William, this take on the classic dessert made with a dark chocolate tarte topped with housemade ice cream, a pear half poached in pear eau de vie, pear purée and the surprise hit: a pear foam of startling intensity.

Poire William

Full and tired, we skipped coffee, tallied our bill, and laid down our cash. (It was a pleasant change to do things at our own pace and not have to flag down a waiter for the bill and go through the usual payment routine.) The chef bid us a friendly farewell and advised us to book three months in advance of our return to Antwerp next May. I can’t wait to see what À l’Ifintiste has on offer in the spring!

Self-service bill; a quick and easy end to the meal

Our total bill was €158 for two 5-course dinners (€46 each), a bottle of wine (€52; the cheapest wine on offer was around €35), 2 .5l bottles of sparkling water (€5 each).

Note: There are two different phone numbers on the À l’Infintiste web site to make reservations, depending on the night you want to reserve:
For Mon., Th., Fri. and Sat., call: 03.237.43.37
For Sun., Tues. and Wed., call: 0476.390.297
Two different men answered these numbers and clearly there are different chefs cooking these nights. Since we were flexible with our timing, I just inquired as to any available night, and was able to get a reservation for two about 2-3 weeks out. We went on a Sunday and did not have the original founder, Marc van Uffelen. We did, however, have a wonderful chef; I’m just sorry I didn’t get his name.

Dinner starts at 7pm. We were asked to be prompt, but not early. Dress was smart casual. Two men wore jackets, but the rest did not. Collared shirts and pullover sweaters were popular with most men on a chilly November night. Women wore slacks, skirts or dresses.

West Flanders: Trench of Death and the Yser Tower museum for peace

Museum aan den IJzer (Yser Tower Museum for peace)

We just made our now semi-annual pilgrimage to Westvleteren to pick up more of the “best beer in the world.” We admit it; we’re hooked…and are possibly beer hoarders as well. But, this post isn’t about beer, it’s about our latest exploration of West Flanders which took us this time through picturesque countryside and villages to the restored WWI Dodengang or “Trench of Death” and the Museum aan den IJzer (Yser Tower Museum) housed in the 22-story tall iron cross tower that’s both a memorial to Flemish soldiers who died in WWI and a sometimes-controversial rallying point for Flemish Belgians.

Brussel sprouts in a western Flanders field

Leaving the Sint-Sixtus Abbey (where Westvleteren beer is brewed), we drove rural back roads past fields of brussel sprouts and farm animals. It always pains me to think of the absolute destruction wrought by WWI on this peaceful countryside. And, of course, WWII was no kinder to Belgium.

Flemish work horses
Happy Flemish cows

We stopped in the pretty little village of Lo-Reninge, lured by the medieval West Gate beside which stands a tree to which, legend claims, Julius Caesar tied his horse. We admired the UNESCO-designated town hall and belfort, and a lovely old Sint-Pieterskerk (St. Peter’s Church) before continuing on to The Royal Museum of the Army’s venue at the Trench of Death outside of the town of Diksmuide.

West Gate in Lo-Reninge, one of the few surviving medieval gatehouses in the region, built sometime around 1250. (And the “Caesar tree”)
Lo (now part of Lo-Reninge) UNESCO-designated city hall and belfort
Sint-Pieterskerk and a WWI memorial to war dead from Lo

Diksmuide is strategically important in WWI history as the site of a line held by defenders after the Belgians flooded large portions of their country to stop the German advance.

The Trench of Death museum was refurbished in August 2014 as part of the WWI centenary and includes videos, photographs and memorabilia from the Royal Army Museum’s collection.

Trench of Death Museum, a venue of the Royal Army Museum
Exhibits in the Trench of Death Museum

Modest-sized, but effective, exhibits on the second floor (1st floor, european) attempt to tell the story of the Trench of Death from both Belgian and German perspectives. A rooftop viewing deck lets visitors get an overview of the trenches and the adjacent Izjer River before descending to walk the extensive rebuilt trenches.

View of the Trench of Death and the Ijzer River from the museum’s rooftop

The museum’s website tells the story of the Trench of Death in 100 words as follows: “In 1915 the Belgian army tries to dislodge the Germans from the petrol tanks north of the city of Dixmude (Diksmuide). After two failed attempts the Belgians decide to dig a trench towards the drums. The Germans however manage to capture part of it. In order to suppress the German threat, Belgian military engineering creates, by the end of 1915, a breach in the Yser dike. The two camps are now only separated by a mere ditch. The trench is then transformed into an impregnable position, called Trench of Death because of the victims buried there after the German attack.”

Beginning the walk from the museum to the Trench of Death

The museum is well-done and the trenches, like those at the Passchendaele Museum, give a sobering glimpse of trench warfare.

Km 16 marker, the Trench of Death

Germans attacked the Belgians on three sides. German trenches lay less than 50m from the Belgians. Belgian soldiers lived under the constant threat of both conventional and gas attack, and kept gas masks with them at all times.

Concrete bags in the shape of the original sandbags have been used to rebuild the trench. Gravel spares visitors the mud that WWI soldiers endured.

A mere 1.5 km away and visible from the Trench of Death Museum stands the 22-story tall Museum aan den IJzer tower and museum (also “Yser” in English), a giant iron cross in the shape of Flemish headstones used to mark the graves of Flemish soldiers.

A large stone “peace arch” with the inscription “PAX” stands at the entrance to the museum grounds. It incorporates the rubble of the original Ijzer tower which was dynamited following WWII in protest of Flemish Nazi collaborators. (Apparently, the Nazis often exploited separatist sentiments to try to drive wedges between social groups in the countries they sought to invade and conquer.) The remains of the original memorial tower are surrounded by its crypt and a circle of Flemish headstones.

The “crypt” with Flemish gravestones at the base of the destroyed first Yser Tower

Later, as we toured the museum, we learned that after the war, the Belgian government decided to install uniform headstones for Belgian soldiers killed during WWI; the headstones were inscribed “Mort pour la patrie” (died for the homeland), in French, with no Dutch (the Flemish language). Existing Flemish headstones were removed and, in at least once case, broken up and used to make a road. Flemish outrage led to the construction of the first memorial Ijzer Tower, constructed as is the present tower in the form of Flemish gravestones with the letters AVV-VVK, representing “Alles Voor Vlaanderen, Vlaanderen voor Kristus” or “All for Flanders-Flanders for Christ.” Given how much time we’ve spent in Belgium in recent years, we’re always trying to understand the complicated history of Belgian society and the rifts between French and Flemish Belgians. Here was a new and fascinating learning opportunity.

22nd floor of the Museum aan den IJzer

Proceeding past the crypt to the tower, we immediately took an elevator to the 22nd floor, the topmost enclosed floor of the tower. There we found 360 windows surmounted by a painted panorama showing the surrounding countryside as it looked during WWI. Labels with directional lines indicated the names of villages, cemeteries and other sites.

Climbing a few more flights of stairs, we came to the open-air rooftop offering an even more dramatic view. The afternoon sun cast the shadow of the tower well beyond the crypt and peace arch below and into the town.

After taking in the views, we began the floor-by-floor descent through the museum. With so many levels to work with, some of the floors were almost throw-aways, one offering only wall-sized black-and-white drawings and another displaying shelf-upon-shelf of ordinance. But, there were fascinating floors as well. One had us wandering a wooden maze of recreated trenches while speakers played the labored breathing of gas attack victims. Around some corners, a large photograph of victims would suddenly light up. A particularly poignant floor offered a display of clothing along with photographs of Belgians fleeing the war. It posited the question, “What would you take if you had only moments to choose before fleeing your home?” It reminds people that their grandparents were the ones fleeing war with the clothes on their back just as today other peoples are fleeing wars in distant lands. The museum is dedicated to peace. “No more war” is printed in Dutch, French, English and German on the four sides of its base.

Clothing display with photographs of Belgians fleeing WWI along the “Via Dolorosa”

Leaving the museum, we walked back past the crypt with a new understanding of what we were seeing. Looking back at the enormous tower with its “AVV-VVK” we now knew that it, and its predecessor, had become a rallying point for Flemish Belgians and has been the site of annual gatherings. After WWI, the Flemish Movement organized pilgrimages to the graves of fallen Flemish soldiers and the first Yser Tower was built in 1930. After the first tower was destroyed in 1946 and the new tower was built, “Flemish minded people” continued to hold large gatherings at the site that attracted a radical, separatist element as well that was sometimes invited, sometimes not. In the 90’s, the organizing committee distanced itself from this radical element. The current museum focuses on promoting peace and tolerance. While the red poppy is the symbol of WWI remembrance for soldiers, the Museum aan den IJzer chose a white poppy with the word “peace” at its center to commemorate all victims of war, both civilian and military. The Museum asks the question, “What remains of life?” addressing the ongoing loss after war, including the mental suffering and difficulties adjusting to civilian life of returning veterans.

________

Practical info: The Royal Army Museum’s center at the Trench of Death is located at:
IJzerdijk 62, 8600 Diksmuide
051 50 53 44
Open daily from 10am-6pm, April 1- Nov. 15, Tues. & Thurs. only the rest of the year. (Check online for details and holiday changes.); admission €4 for adults, children under 8 are free.

The Museum aan den IJzer (Yser Tower Museum) is located at:
DE IJZERTOREN – IJzerdijk 49 – 8600 Diksmuide – T 051.50.02.86 – info@aandeijzer.be
Open daily, check online for seasonal variation in times.
Entrance is €8/adult, €2.5 for children 7-17, and free for children under 7. 

 

The Jane: a world-class dining experience in Antwerp, Belgium

 

Friends from the U.S. coming to visit us in Antwerp finally motivated us to try The Jane, one of Antwerp’s two 2-Michelin starred restaurants and Diner’s Club pick for one of the top 50 restaurants in the world. Occupying the converted chapel of a former military hospital, The Jane is a mere 10-minute walk from our Antwerp home-away-from-home. We’d walked by many times, even eyed their menu online, but the astronomical price and difficulty in getting reservations dissuaded us on previous stays. We had a 4-day window when our friends would be here and, sure enough, there were no reservations available at The Jane during this period. We put our name on the dinner wait list and were able to get a reservation after about 2 weeks. 8pm was the only dining time available, a little late for us given the length of the expected meal and our friends’ early departure the next day, but we jumped on the opportunity nevertheless.

We were greeted warmly at the hostess desk which faces the front door backed by a wall that closes off the main dining room from view. This provides diners with a theatrical first glimpse of the vaulted dining room dominated by a massive modern “chandelier,” a many branched glass-and-steel structure that spans most of the large space. Opposite the entrance, a wall of glass frames the bustling kitchen high above which a whimsical neon sign reads “CAN I STAY A LITTLE LONGER, I’M SO HAPPY HERE.”

The massive light fixture and avant garde decor really work with the backdrop of peeling, unpainted ceiling of the old church and quirky stained glass windows. [See lead photo above.] In keeping with The Jane’s reverential attitude towards fine cuisine, the kitchen occupies the former altar space.

A printed copy of the 14-course menu was on the table when we sat. Our first waiter arrived to ask for our aperitif choices, giving us 4 options (champagne and 3 signature cocktails), to go with the first amuse bouche courses.  (We lost count of how many people waited on us over the course of the meal; I think it was a cast of 8 to 10 people.)

There was no printed description or price list for the drinks. Our preference for wine (a 2010 San Leonardo from Italy; cabernet sauvignon, carmenere, merlot; 95 points on Robert Parker) over aperitifs slowed things down a little, but the first 4 amuse bouches arrived relatively promptly.

COURSE #1. Amuse bouche: Jane-grown tomato with watermelon and burrata
COURSE #2. Amuse bouche: Eggplant in miso draped in French Noir de Bigorre ham served on a warm stone with a side beverage of 6 apple juices and sake.
COURSE #3. Amuse bouche: Ceviche with small white radishes, a dollop of avocado, savory leaves in a citrus-y marinade.

Oddly, it was not until after a few of the amuse bouche courses that we were handed a menu with prices and options for the 13-course menu and wine pairings. This left us feeling a little off-balance and unsure of what to expect throughout the first portion of the meal, but was not a huge issue. We opted for the full 14 courses since choosing the 13-course menu (€20 cheaper) would have deprived us of the langoustine and cep course which really was a highlight. Good choice on our part. We declined the wine pairing options and one of our friends chose several bottles of wine.

The menu gives only a bare description of what to expect. There were many more ingredients and even extra little plates and bowls (and one drink) that appeared with each course. Each course was a treat for the eyes as well as the palate with a mind- and palate-boggling array of little flourishes and dollops and leaves and flowers and frozen pellets and gilded bits. Flavors were generally exquisite with my only quibble being that several were a touch too salty for me, which is unusual since I like salty foods. All in all, it was fun to explore our way through each dish although I readily admit to being unable to identify some of the tastes and ingredients on display. I’m not a professional food critic, so you get what you get with this post.

COURSE #4. Amuse bouche: Glazed local eel from the Schelde River Bai hao Yin Zhen dashi topped with crispy kale, in broth

The prix fixe menus are in effect for 11 weeks with minor changes due to availability of ingredients. (The current menu only recently went into effect.) After an 11-week run, the staff takes a 2-week break and returns to a new seasonal menu that is in place for the next 11 weeks.

COURSE #5. 1st main course: Mackerel with Jane-grown beet and black garlic. Also beet-infused tapioca, 4 tasty dollops of uncertain but delicious origin, foams, vinaigrette and a delicate crisp.
COURSE #6. 2nd main course: Scallop, cucumber & seaweed with freeze-dried citrus balls (giving off a light “fog”) with tasty “leathers” and a dollop or more tasty, but unidentifiable ingredients
COURSE #7. 3rd main course: Langoustine, ceps and zuchini garnished with nasturtium. Absolutely spectacular!

The current menu is very heavily weighted toward seafood proteins, which we loved, but which might be to everyone’s taste: ceviche, eel, mackerel, scallops, langoustine, shrimp, John Dory.

COURSE #8. 4th main course: Grey North Sea shrimp, potato & beurre noisette. For those unfamiliar, the shrimp are small–like bay shrimp, but very tasty.
COURSE #9. 5th main course: John Dory with artichoke hearts and a side bowl of shellfish (mussels) and a tiny bit of pasta

Only the poulet de Bresse (chicken) course, served with sweetbreads and a liver spread on chicken skin crisps, bucked this trend. Items are chef’s choice, although there are options offered to allow for allergies and dietary restrictions.

COURSE #10. 6th main course: Poulet de Bresse, vol-au-vent, carrot with sides of sweetbreads and chicken liver paté on a chicken skin crisp
COURSE #11. “Semi-dessert”: BBQ apple with a mezcalnegroni ice cream and cinnamon

The only flaws: While service started out well and was always friendly and not at all stuffy, something went off-track later in the meal and we started experiencing long waits between courses. A couple of times, wine glasses were left empty for stretches as well. By 11pm, 3 hours into our meal, we still had many courses to go. We were in no hurry and fully expected and looked forward to an extended dining experience, but the lapses became too much. Eventually, we asked a waiter if we could get our three dessert courses at once since our friends had an early train to Amsterdam to catch a plane the next morning.

COURSE #12. Dessert: A chocolate/mocha creation with Tanariva milk chocolate, nocciola (hazelnut) & espresso. This one was so complicated (and delicous!), including a small mousse, ice cream, crisps of varying types, dabs and dollops and gold. I loved it!

To The Jane staff’s credit, they did speed things up after we asked, even bringing the chocolate course ahead of the last dessert. The chocolate was a house-made La Esmeralda 74% dark chocolate bar with dried fruit and salt that came on a marble block with a special weighted tool for breaking the bar, tongs and a bag for taking home any extra pieces.

COURSE #13. House-made La Esmeralda 74% dark chocolate bar with bullseye wrapper to help diners strike the right blow with the special weighted tool provided. Also, tongs and a bag for a take-home treat.
Unbroken La Esmeralda chocolate bar from The Jane at home

We finished dinner sometime after midnight and got the check around 12:30am. The slowed service at the end of the meal wasn’t enough to ruin our meal, but it was a surprising lapse in service by a restaurant of this caliber. It was a particular disappointment since, prior to things going awry, one of our foodie friends had just pronounced every course to that point flawless and the meal as one of the top ten of his life.

COURSE #14. Final dessert: “Kaiserschmarrn”, described as made with “shredded pancakes,” it was like a fluffy bread pudding dotted with raisins and served with a side of rum ice cream. Excellent!

Another minor point: After 4+ hours of dining, the repetitive beat of the looping low-key techno-pop music starts to grate.

Practical info: Our total bill for four persons was €904: €600 for four 14-course fixed price menus, €34 for still and sparkling water throughout the meal, and €270 for 3 bottles of wine. Not something we’d do on a regular basis, but a night at The Jane is an experience as much as a meal.

Dress was smart casual with women wearing pants, skirts or dresses and men in slacks and sports coats, with or without ties, occasionally minus a jacket.

Find more info and book reservations or join wait lists on The Jane’s website. The Jane books full far in advance, but an initial back-up wait list lunch reservation came through for us in a matter of days (via an email which requires you to accept or deny a firm reservation). We waited about two weeks for to get a dinner reservation off the wait list. In that case, David called to see where we were on the list and was told they’d just had a cancellation and we were in for the 8pm time slot. (All that was available.) NOTE: The Jane requires a credit card to hold a reservation and there is a €50 per person charge for cancellations within 48 hours.

Allergies or diet restrictions can be accommodated, but there is a €15 charge if no advance notice is given.

There is a cheaper Upper Room Bar at The Jane where a maximum of four persons can make reservations for drinks, etc. two weeks in advance. Again, find more info on that on The Jane’s website. (Click the top center graphic to get the drop down menu.)

Het Anker: Touring one of the oldest breweries in Belgium

Het Anker (“The Anchor”) Brewery in Mechelen, Belgium, makes the highly-rated Gouden Carolus beers along with several other varieties. David and I had been to their café before and knew we liked their beers, but hadn’t had the chance to tour the brewery. So, when we called on a recent Sunday and heard there were two open spots for the 1pm tour–and none others for the rest of the day–, we dropped everything and headed to the train station and the 10-minute ride from Antwerpen-Berchem to Mechelen. A quick walk, and we arrived just in time for the €8pp tour.

The brewery sits on the edge of the historic center of Mechelen and actually occupies part of the red brick complex that formerly housed religious ladies known as beguines or begijns in Dutch. Like other beguinages/begijnhofs in Belgium, the Mechelen beguinage has been designated as a UNESCO world heritage. [Mechelen is a beautiful little town and free of the tourist hordes that plague other popular Belgian cities. You can read my raves about Mechelen here.]

The tour begins

Our tour (in both English and Dutch) took us through the main “tower” building which, although newer than the beguinhof, is a historical site itself. We went straight upstairs to the malt silos where a bar with barley malt, corriander, cumin, licorice and other items were on display and passed around to give an idea of the flavors that go into the various Het Anker beers. Our guide a rather opinionated and no-nonsense man, scolded a woman in the back for talking while he was talking, not realizing, I think, that she was translating. I understand both of their situations, but it made for an uncomfortable moment.

From there, we viewed gorgeous old copper tuns and a display of old bottles under a lineup of past and present Het Anker owners. Our guide was very critical of the previous owner (who wished to promote pils-style beers) and praised the current owner who wrested control of the business away from his relative to focus on craft-type beers of stronger and more unique flavors and character. I have to admit my own beer tastes side with the current owner (who lives in a red brick house in front of the brewery and next door to the café and tasting room).

Copper tuns
A timeline of changing owners, beers and bottles

Our tour took us past an old copper “radiator” for cooling beer, a device no longer permitted under European Union regulations since it exposes the beer to the open air. According to our guide, only the lambic brewers who rely on wild ambient yeast are exempted from this rule.

A beer “radiator”

Bottling methods were also on display via sample machinery and video.

A final stop brought us to a large open-air coolship (unused due to those pesky EU rules) perched on the roof of the tower and offering a view of the town.

Rooftop coolship, no longer in use
Rooftop view of old Mechelen and St. Rumbold’s Cathedral bell tower

Descending back to ground level, our guide led us to the tasting room located upstairs in the café building. There, at a long table, we were given two 15cl beers: the Gouden Carolus Tripel and the Gouden Carolus Classic, a Belgian dark beer. David and I have enjoyed Gouden Carolus beers on many occasions. I’ll quote the brewery on these two beers as I have no disputes with their descriptions.

Het Anker offers the following about its Gouden Carolus Tripel: “Despite the technological advances, this beer is brewed according to ancient tradition and unites, as before, the best raw materials from our soil as ripe barley and fine hops, to preserve a maximum of pure flavor. This beer was originally brewed for the Knights of the Golden Fleece in 1491.

Full graceful tenderness, with a clean and neat taste, this beer will enchant you: matured in the bottle, exclusively obtained from pale malt, highly fermented and 100% natural. With a full-bodied flavor that still works thirst quenching, thanks to a balanced hopping. For ideal savouring, gently pour out in one fluent movement, at a temperature of 5-7° C (41-45°F). This pleasant golden blond beer is preferred by all who loves heavier, somewhat seasoned and refreshing beer.

This tripel is world-class.
Already in 2002 this beer won the Gold Award at the biennial World Beer Cup in the category ‘Tripel’. In 2010 this beer won gold at the European Beer Star in the category ‘Belgian Style Tripel’. In 2012, again followed the gold award for best Tripel beer in the world (“World’s Best Belgian-Style Tripel”).”

Het Anker describes the Gouden Carolus Classic as: “Dark, very balanced dosed caramel and aromatic malts provide, in combination with a traditional high fermentation, a unique beer that unites the warmth of wine and the freshness of beer. This makes it very suitable in combination with culinary specialties such as stews, wild, pates and even sabayon.

Following earlier prestigious awards, this beer was selected “Worlds’ Best Dark Ale” (WBA, 2012).”

Tasting time

Our fellow beer fans were from many countries: Turkey, Greece, Italy, the Netherlands, U.S. and many more. We enjoyed chatting over our excellent beers, then David and I walked the few steps to snag a table at the café for a much-needed late lunch. Although we’d enjoyed a previous dinner at the café (of traditional Belgian beef-and-beer stew and a fish plate), I’m sorry to report that we found our lunchtime hamburgers truly awful. The bun was good and the side salad was fine, but the meat was an odd and unidentifiable tan mix fried in oil. Never again. (This wasn’t the first Belgian hamburger we’ve found to be off-putting. Maybe it’s just a case of “different strokes for different folks.”) Oh well, the beers we chose to accompany the food were excellent, so all was not lost.

Sadly, this burger looks much better than it was.

Practical Stuff: Start to finish, our tour and tasting took about an hour and a half or a little more. Individual tours of the Het Anker Brewery are offered Tuesday, Wednesday and Thursday at 11.00 am, and Friday, Saturday and Sunday at 11.00 am and 1.00 pm. The cost is € 8 per person, € 2 for children under 12 years old. Two 15 cl beers or one soft drink are included with the tour price.  Advance booking is strongly advised. There’s a form (in Dutch) online to request a reservation. (The brewery will respond to confirm or not.) or call 0032 15 28 71 41. Group tours are available daily with reservation.