After so much time dreaming of holidays during lockdowns, here’s a wonderful opportunity to engage with the wine community in Sigoulès, near Bergerac in SW France by signing up for the summer event on July 24th of the Confrerie du Raisin D’Or de Sigoulès. A parade, a lunch and much fellowship awaits when you step outside your comfort zone and into a wonderful traditional event.
Taste Vin – Confrerie du Raisin D’Or de Sigoulès, SW France near Bergerac.
Check out the Confrerie website for all the details, menu and registration.
facebook: confrérie du raisin d’or
Summer festival Confrerie du Raisin D’Or de Sigoulès July 24
What an invitation! To time travel to the 1950’s, 60’s, 70’s and 80’s with these images of wine bottle labelsfrom Bordeaux wines!
Bordeaux wine labels from the 1950’s, 60’s, 70’s and 80’s.
These labels and others, carefully removed from the bottles and kept over the years, are a wonderful and much appreciated gift.
The Bordeaux wine area consists of two main geographic areas on the banks of the Garonne, Dordogne and the Gironde, which is the estuary where the Dordogne and Garonne rivers meet: left bank for Medoc and right bank for St Emilion and areas.
Bordeaux wine area
A closer view
The world famous Bordeaux wines are a blend of predominantly Cabernet Sauvignon and Merlot together with lesser amounts of Cabernet Franc, Petit Verdot and Malbec. What’s interesting about the Bordeaux area is that the percentages of the wines in the blend vary according to geography. For example, the Medoc area wines generally feature more Cabernet Sauvignon whereas the St Emilion areas feature more Merlot.
The roles that these predominant varieties play in the wines is important in considering which type of wine to buy from personal preference and to pair with different dishes.
Cabernet Sauvignon provides more structure to the blend, considering tannins and acidity. It also provides dark-fruit flavours of blackcurrant and bell pepper.
Merlot is usually juicier and adds some softness with more fruit flavours. These two varieties complement each other and provide long term potential for ageing when made by skilled winemakers.
Given that winemakers create their own preferred ratios of Cabernet Sauvignon to Merlot depending on soil, climate, and all the aspects of terroir, it is important to always look at the back label to see the percentages of the varieties in the Bordeaux wines one is buying, because this will give an indictation of the ambiance of the wine. In addition to this, also factoring in the geographic area within the Bordeaux area that the wine is coming from is important.
The Bordeaux Medoc and left bank wines (those typically with a higher percentage of Cabernet Sauvignon) werefeatured on my earlier December blog with a chart comparing the assessment of Jane Anson, Master of Wine and Decanter’s Bordeaux Correspondent with the wines available through the (British Columbia) BC Liquor Stores for the 2018 wine releaseavailable in September this year.
As I highlighted in that earlier blog, Jane Anson wrote her En Primeur Report in the Decanter Magazine June 2019 issue, with not only an assessment of the 2018 vintage overall but she also assessed each individual château and identifies those châteaux she considered at the time to be Top Value, Producer to Watch or Potential 100 (i.e. possibility of being rated 100 points).
The chart below comparesthe Decanter Magazine assessment of the Bordeaux St Emilion and other right bank appellations (typically those wines with a higher percentage of Merlot) with the wines available through the BC Liquor Stores.
It’s interesting to note that 2018 was a year of high sugars and high tannins for the Bordeaux right bank wines.
The chart demonstrates where the opinions of Jane Anson MW coincide with the opinions of the BC Liquor Store Masters of Wine buyers. Again, only the chateaux highlighted by Jane Anson as Top Value, Producer to Watch or Potential 100 points for the St Emilion right bank wines are included in the chart. It’s a smaller list than the Medoc and Left Bank comparison list and none of Jane Anson’s Producer to Watch category made it to the BC Liquor Stores list.
For me, a second opinion from a valued source is always helpful.
2018 Bordeaux Right Bank
Jane Anson, MW
June 2019, En Primeur Report for 2018
BC Liquor Stores
BC Price $C per bottle
Château Beausejour Duffau-Lagarrosse
Château Beausejour Duffau-Lagarrosse
97 points Wine Advocate
Drink: 2024 – 2044
Château Cheval Blanc
Château Cheval Blanc
100 points Decanter
Drink: 2028 – 2042 Decades!
Pomerol & Lalande de Pomerol
Vieux Château Certan Pomerol
Vieux Châteaux Certan Pomerol
99 points Wine Advocate,
Drink: 2027 – 2057
Pomerol & Lalande de Pomerol
100 points Jeb Donnuck,
Drink: 2025 – 2065
Château La Serre
Château La Serre
94 points Jeb Dunnuck
Drink: 2026 – 2040
Pomerol & Lalande
Château Lafleur – Gazin
94 points James Suckling
Drink: 2024 – 2038
Côtes de Bordeaux & St Emilion Satellites
Château Joanin Bécot, Castillon Côtes de Bordeaux
Château Joanin Bécot, Castillon
Côtes de Bordeaux
93 points Jeb Dunnuck
Drink: 2022 – 2036
There are,of course, many more Bordeaux 2018 wines than those listed here available in the BC Liquor Stores.
The two charts of what was anticipated about the 2018 Bordeaux vintage in the En Primeur tastings in 2019 compared with the availability of wines in British Columbia Liquor Stores are helping me build an expanded list of possible wine producers to consider and watch for in future vintages.
Bordeaux wines are fascinating in their complexity and subtleties. I applaud the magic of the winemakers in producing superb wines and appreciate the efforts of the highly skilled Masters of Wine in presenting these wines and relevant information to consumers.
Wishing all a happy and healthy 2022,
Decanter Magazine June 2019
BC Liquor Stores 2018 Bordeaux Release Guide
Elizabethsvines December 2021 blog post: Bordeaux Release
The end of summer in Vancouver coincides with the annual Bordeaux wine release by the BC Liquor Stores. September is the important month.
Excitement builds as aficionados wait for the online and print catalogues as well as notification of the prebooking opportunities. It looks like the 2018 vintage will be a very good year, like 2015 and 2016.
The Bordeaux Release is quite the show! Especially when you see shopping carts loaded down with multiple cases of wine being wheeled out to nearby parked cars.
For me, the catalogue of wine is not just about the wine. The catalogue is like a travel brochure as each name that I know conjures up the place: the countryside, the beautiful chateaux themselves, and the rows of vines and the sense of history – the whole ambiance is like magic for me.
I have visited the Bordeaux wine region – left bank, right bank – several times either on arranged tours or one-off visits to a particular chateau. Seeing the names is like reading poetry that you know well, there’s a rhyme to the words: Chateaux Margaux, Palmer, Haut Brion, La Mission Haut Brion, Cheval Blanc, Figeac, Leoville Barton, Lynch Bages, La Dominique, Quintus…
Some are chateaux I have visited for the first time in the last few years, often with my wine expert friend. Yet others like Chateau Margaux and Chateau Palmer I first visited decades ago with my parents and have happy memories of those introductions to the world of Bordeaux wines !
Putting aside these fine memories, I got down to the business of modestly buying some of the 2018 Bordeaux Release!
When the wine is released in the ‘liquor stores’ run by BC Liquor Stores, there is a mad rush of people swooping in with determination written on their faces as they grab a copy of the catalogue, which is an excellent reference guide with helpful information, and decide what they will buy!
I have to admit I probably had that same look of determination on my face as we decided what to buy. I didn’t have time to do any research before buying. I know from previous experience that if you dither, the choices you would like will have gone!
The wines in the 2018 Bordeaux Wine Release were selected at the en primeur tastings in Bordeaux in 2019, and are now released for sale in 2021.
After we bought some wine at the release, I serendipitously rediscovered my Decanter magazine issue of June 2019, in which Jane Anson, Master of Wine and Decanter’s Bordeaux Correspondent gave her En Primeur Report for Bordeaux 2018.
Not only does she write about the vintage overall but she also assesses individual chateau and interestingly, identifies those chateaux she considers to be Top Value, Producer to Watch or Potential 100 (i.e. possibility of being rated 100 points).
I compared this list with the wines available through the BC Liquor Stores and prepared the following chart of those wines which appear both on Jane Anson’s three criteria list from 2019 and the BC Liquor Store release in 2021 for left bank Bordeaux wines. Here it is, rather a short but informative reference list.
Jane Anson MW – Decanter Magazine
BC Liquor Stores
BC Price $Can
Ch. Cambon La Pelouse
Ch . Cambon La Pelouse
Ch. Ormes de Pez
Ch. Ormes de Pez
Les Tourelles de Longueville
Les Tourelles de Longueville
Ch. du Glana
Ch. du Glana
Ch. Leoville Poyferré
Ch. Leoville Poyferrê
Producer to Watch
Ch. Clerc Milon
Ch. Clerc Milon
Ch. Lafite Rothschild
Ch. Lafite Rothschild
Ch. Mouton Rothschild
Ch. Mouton Rothschild
Ch. Pichon Longueville Comtesse de Lalonde
Ch. Pichon Longueville Comtesse de Lalonde
Needless to say, both the Decanter article and the BC Liquor Store catalogue list many more wine choices.
The above chart is a very short list of those Bordeaux left bank red wines which were assessed as either Top Value, Producer to Watch or Potential 100 points of Left Bank Bordeaux 2018 red wines and were also available in the BC Liquor Stores 2018 Release. These were the criteria for inclusion.
The value to me of this comparison chart is that it fine tuned the information in the BC Liquor Store catalogue and has introduced us to some vineyards we didn’t know about at the lower end of these price points that we will keep an eye on for future purchases.
Enjoy the magic of Bordeaux!
References: Jane Anson MW, Decanter Magazine June 2019, Vintage Preview: Bordeaux 2018
2018 Bordeaux Release – BC Liquor Stores.com
and with recognition to my wine expert friend who always encourages my interest in Bordeaux wines.
This year in summer 2021, the Confrérie du Raisin D’Or de Sigoulès in the Bergerac Wine Region in SW France was innovative in fulfilling its mandate of promoting local winemakers.
Instead of hosting its annual Confrerie wine event attended by Confrerie members from across France, it creatively switched to participating in the local Festival for Winemakers of Sigoulès-Flaugeac. The Confrérie hosted a wine tasting event of local wines in which the public voted for the wines of their choice. Great Idea!
Awards were then given by the Commandeur Guy Bergeron, representing the Confrérie, to the winners in the 5 wine categories of Red, Rose, Dry White, Sweet White, and Late Harvest Liquoreux. All 19 winemakers who participated in the public tasting were thanked for their participation.
And the five winners were…
Rouge/Red wine: Stephanie et Philippe Barré-Perier in Saint Pierre D’Eyraud
Rosé/ Pink: Jean Philippe Cathal, Domaine Petit Marsalet, St. Laurent des Vignes
Blanc Moelleur/Sweet White: Durand Frères, Château Haut Lamouthe, Lamonzie St Martin
Blanc Liquoreux/ Late Harvest Liquoreux: Stéphane Dumoulin, Chateau le Cluzeau, Sigoulés-Flaugeac
Congratulations to the winners of the people’s votes!
All these community names are very familiar to me and I am so pleased to acknowledge the work and effort that went into this event.
Given the COVID restrictions in place, the Confrérie du Raisin D’Or de Sigoulès, under the leadership of the Commandeur and the support of the members, continues to be active in the community upholding its role as part of the UNESCO World Heritage recognition of Confréries in France as a fundamental aspect of French Gastronomie.
The sense of wonder I feel when I look at antique mosaics made in Roman times; around the 2nd Century AD or about 1,800 years ago, and that they have survived,
The artistry in the designs, whether geometric, non figurative or figurative – which still appeal to the modern viewer and are influential in today’s decorative styles,
The craftsmanship in making polychromatic illustrations from tiny cubes – 1 cm each side – of natural stone (called tesserae); usually limestone or marble of different colours which remain as vibrant today as the day the stones were laid. In particular, the skill in applying the stones to the mosaic design in such a way as to provide perspective, texture, and nuance of colour, size and scale,
The size of either floor or wall mosaics, which provide the opportunity to tell a story in stone; reflecting contemporary interests in nature, flora and fauna, spectacle, myths, gods and goddesses,
The way in which mosaics inform us about the lifestyle, the social and economic standing of the people who lived so long ago in houses and communities decorated in such beautiful ways; where beauty was a value they appreciated.
In other words, antique mosaics are masterpieces of the ancient world.
In today’s world, Sharen Taylor is inspired to help people appreciate the mosaic art form and also create mosaics with modern materials. While this is her focus, her creative approach is grounded in the depth and breadth of her knowledge and experience of art history and archeological conservation that she brings to her modern expression of an ancient art.
Illustrations of Mosaics made by Sharen
Sharen Taylor with her mosaics
Sharen making us coffee in her studio
Sharen Taylor in her studio demonstrating how to cut tesserae
Sharen graduated from Exeter University with a BA in Fine Arts with a specialty in sculpture. An interest in antiquities and conservation work led her to a job with the British Museum in London. While working there, she was sponsored for a Diploma in Archeological Conservation at the Institute of Archeology, London University.
Coming to Cyprus in 1987, she worked on the excavation work at Lemba, near Paphos. She conducted the conservation work on the cult bowl and figurines found at Kissonerga, which are on permanent display at the Archeological Museum in Nicosia. During a recent visit to that museum, I took this photograph, thinking how fortunate I am to know the person who did the conservation work on these important artifacts dating back over 4,000 years.
The Lemba cult bowl and figurines on which Sharen conducted conservation work. On display at the Cyprus Archaeological Museum, Nicosia
Following this exciting work, Sharen stayed on in Cyprus and worked for the Department of Antiquities as a consultant, including with the Leventis Museum, focusing on metal work and mediaeval pottery. She also worked for various foreign missions coming to Cyprus on archeological expeditions. Through this work, Sharen joined the Getty Conservation Institute as a Consultant and Coordinator for Site Conservation training, which focused on conservation on site; important for the integrity of archeological expeditions. Because of Cyprus’s location at the centre of the Eastern Mediterranean with major archeological finds throughout this geographic area, site conservation training was centred in Cyprus.
Sharen’s professional interest shifted to mosaics when she was asked to conduct a historical survey of the wine harvest mosaic in the atrium of the House of Dionysius at the Nea Pafos Archeological Site, a World Heritage Site, adjacent to the Paphos old Port. She analyzed each stone in that mosaic! In this photo, she shows her detailed mapping and analysis of those mosaics.
Sharen explains the historical analysis she conducted of the Roman wine harvest mosaics at the House of Dionysius, Paphos Archeological Park.
Sharen presented her findings at a conference of the International Committee for the Conservation of Mosaics in Arles, France in 1999.
She started her mosaic workshop in 2000 and moved to the beautiful, light and airy new building in the Hani Ibrahim Khan Centre near the Municipal Market in Paphos in 2018. As soon as we entered to workshop to meet with Sharen, I could feel the good energy there. She focuses on commissions for organizations and private individuals and also teaches children and adults mosaic making, which is how I first became aware of her work.
Coincidentally, in 2013, I wrote about the wine harvest mosaics in a series of 5 posts about Cyprus in which I made the connection between my interest in wine expressed through my wine blog and the wine harvest mosaics! ( See: Cyprus Wine Making – the ancient world meets the 21st Century: Part One)
Earlier in this post, I outlined the main reasons that ancient mosaics fascinate me.
A visit to the Nea Pafos Archeological Site illustrates all these aspects. Each time I visit Cyprus, I take time to enjoy these mosaics, both those in the open air and those in the various excavated houses, including the House of Dionysius, where the wine harvest mosaics pave the atrium.
Nea Pafos Archeological Site, Paphos
Imagine welcoming guests to your house if you were the prosperous citizen of Paphos living in this Roman villa. Your guests would admire these and other mosaic illustrations as they walked across the floor.
Sometimes, I wish I could be a time traveller to quietly observe these scenes!
Any visitor to the Nea Pafos Archeological Site is privileged to be able to see these world heritage mosaics in situ.
Prior to the 1960’s, geometric and non-figurative mosaics were frequently considered of little importance. Generally, there has been ongoing deterioration and loss of mosaics. There was a view that there are so many antique mosaics in the Mediterranean region where mosaics are numerous that conservation wasn’t important.
Now there is recognition that cultural heritage is increasingly threatened by rapidly changing physical and geopolitical currents around the world and this emphasizes the need to protect antique sites.
Under the authority of the Department of Antiquities, Republic of Cyprus, systematic excavations started at Neo Pafos in 1962. In 1980, it was inscribed on the World Heritage List of UNESCO. Nea Pafos continues as a centre of excavation and research by many foreign archeological missions from universities and schools.
As mentioned previously, Sharen presented her paper on the Paphos wine harvest mosaics at The International Committee for the Conservation of Mosaics (ICCM) Conference in 1999, entitled: Mosaics, Conserve to Display. The ICCM, founded in Rome in 1977, is a voluntary organization registered in Cyprus as a legal entity. Their role and objectives are, “promoting the broader evolution in the philosophy and practice of heritage conservation in the field of mosaics”. It is an organization that brings together conservators, archeologists, art historians and architects. I am grateful to Sharen for making me aware of this organization and its work.
Experiencing antique mosaics connects us to the ancient past at various levels: physical, emotional and at the level of beliefs and values through the stories they tell and the designs they illustrate.
Sharen Taylor, through her knowledge, experience and creativity pays that cultural heritage forward by teaching children to appreciate and create mosaics. The Hani Ibrahim Khan colourful and imaginative wall mosaic created by children with aged 7 – 11 is a great illustration of this.
Past, present and future: the cultural tradition of mosaics continues…
Mosaic made by children aged 7-11 years for the opening of the new Centre in Paphos.
Sharen Taylor Mosaics, 15 To Hani Ibraham Khan, 40 Konstantinou Kanari Paphos
Accessible Website via Facebook Google Sharen Taylor Mosaics.
Department of Antiquities, Republic of Cyprus www.mcw.gov.cy see this site for lots of relevant information including the Neo Paphos Archeological Park
International Committee for Conservation of Mosaics (ICCM)
It’s about 3.30 p.m. on a sunny, warm autumn afternoon in November. We walk uphill into a bosky, oak wood with sunlight filtering through the leaves. The ground is covered in acorns that crunch noisily under our feet in this quiet space.
There before us with wings spread wide is the Quintus Dragon
The Quintus Dragon, Château Quintus, Saint-Emilion.
All two tons of bronze on a stone plinth.
“Why is there a dragon here?” we ask our host, François Capdemourlin, the Estate Manager at Château Quintus.
He tell us that, in mythology, dragons protect treasure or special places. The proprietors of Chateau Quintus in Saint Emilion consider that their 28 hectares of wine growing slopes are special. Hence the protective presence of the dragon, he says.
Commissioned by Prince Robert of Luxembourg, President and CEO, Domaine Clarence Dillon and created by Mark Coreth, a world renowned British sculptor, who specializes in large scale, dynamic animal and wildlife sculptures, the Quintus Dragon is spectacular.
The view from this wine property is also spectacular. On a clear day such as we enjoy, its possible to see not only famous Saint Emilion chateaux, such as Chateau Angelus before us across the vineyards but also the areas of Pomerol and Fronsac, great wine areas in the distance.
Château Quintus chai on the hill
Looking east from Château Quintus
Views across Saint Emilion vineyards
Saint Emilion vineyards
Chateau Quintus is owned by Domaine Clarence Dillon, which owns Chateau Haut Brion and Chateau La Mission Haut Brion in Pessac Leognan in the Bordeaux Wine Region. I wrote about Chateau Haut Brion in January: see the Whisper of History.
Bordeaux wine areas – see Graves and Pessac-Leognan and Saint Emilion
Chateau Quintus represents a relatively new venture for Domaine Clarence Dillon as it extends into creating the more merlot-centric wines of the Right Bank of the Bordeaux wine area through the acquisition of two existing but separate wine properties. Merlot, as the predominant variety in Saint Emilion wines, is the grape variety that gives softer tannins to wines.
As we talk about Merlot based wines, we smile as we reminisce about the 2004 film ‘Sideways’ featuring proponents of Merlot and Pinot Noir and wonder how many people remember that film now.
Back at Château Quintus there is an aura of calm efficiency about the property. This is a working vineyard: no wine tourist shop or public tasting area in sight. This is the norm in the Bordeaux wine area with only a few exceptions. Visits are by appointment only. Wine tourism centres for this area are located in the UNESCO heritage town of Saint Emilion.
We tour the new winemaking area in the renovated chai or vat room and then drive to the Chateau business centre in a different area of the property, where there is a small tasting room. Behind the tasting area, we can look through the glass partition to the wine barrel ageing room where the wine is quietly and patiently ageing.
Tasting room with barrel ageing room behind the glass wall.
It’s in this tasting room that our host tells us the story about pirates!
Images of Pirates of the Caribbean and swashbuckling figures come to mind and I can’t wait to hear the tale.
This is what happened. On a diving expedition in the Indian Ocean, off the Island of Mayotte, some years ago, divers found a cache of treasure on the seabed. In this cache, covered with the debris of years on the ocean bed, was a 19th century wine bottle, still intact. On the neck of the bottle was the raised seal of Chateau Haut Brion engraved on the glass, still visible after all these years. Inspired by this historic find, the wine bottles of Chateau Quintus are especially made in the same 19th century style, in this instance with the raised engraved seal of Chateau Quintus.
I’ve mentioned dragons and pirates, now its time to mention the wine!
Chateau Quintus focuses on red wines and these wines are part of the Saint Emilion appellation. As mentioned, the grape variety grown is Merlot together with Cabernet Franc. In terms of wine production, the vintage has been controlled by Chateau Quintus since 2011.
Out of interest, white wines made in the Saint Emilion wine region are characterized as Bordeaux Blanc.
We taste a Chateau Quintus 2014 and their second wine, Le Dragon de Quintus 2014. 2014 was a challenging year with a hot Indian summer in the area that saved the vintage after difficult summer conditions.
Wine tasting at Château Quintus – note the raised seal engraved in the glass.
The Chateau Quintus 2014 is made from 69% Merlot and 31% Cabernet Franc. This is a smooth wine with red fruit and spicy notes. It is a wine to age and enjoy over the next decade or so.
Le Dragon de Quintus 2014 is made from 77% Merlot and 23% Cabernet Franc and is a wine with soft tannins and plum notes to fully enjoy now.
It is interesting to hear the Estate Manager talk about vineyard management and the wine making process used at Chateau Quintus as it benefits from the expertise of the teams at Chateau Haut Brion and Chateau La Mission Haut Brion, all part of the Domaine Clarence Dillon organization.
Several examples of this collaboration are discussed:
One example is that the vineyard workers have been specifically trained in the way that Domaine Clarence Dillon prefers to prune the vines.
Another is that Chateau Quintus benefits from the on site cooperage or barrel making service resident at Chateau Haut Brion.
Yet another example is that the staff from the three different chateaux gets together for the wine blending process to determine the percentages of varieties in the year’s vintage. Team members share their expertise to arrive at the optimum blend. Once the blending has been determined the wine is put in oak barrels for ageing over approximately two years.
I am always interested to know about initiatives that develop talent and skill within an organization and enjoy hearing these examples given by François Capdemourlin, who is clearly enjoying his exciting role managing this integrated wine estate. Chateau Quintus is a new name in the Saint Emilion wine world, finding its way and supported by the investment of resources from the Domaine Clarence Dillon. Watch this space, as the pundits say.
We’ve enjoyed an interesting and informative visit to Chateau Quintus and its time to thank the Estate Manager for his time, find our car and drive off towards road D33..
D33 is the main road on the way from Bergerac to Libourne and the city of Bordeaux. Up high on the right hand side sits the town of Saint Emilion with its vineyards spread over the hillsides. We frequently drive that road.
Now I know where the Quintus Dragon lives, in that bosky wood on the hill high above the road. I know where to look when driving by.
The Quintus Dragon
Next time, I will raise my hand in a silent salute.
We’re back in Cyprus, land of mythology, of Aphrodite rising from the waves. The goddess of love, known as Aphrodite to the Greeks and Venus to the Romans, was believed to have risen from the sea foam near Paphos at Pétra tou Romioú.
Could this be Aphrodite’s sea foam?
I remember seeing Sandro Botticelli’s renowned painting of the Birth of Venus (mid 1480’s) at the Uffizi Gallery in Florence and am delighted to think I have seen both the painted interpretation and the physical site of the legend.
In this ancient land of Cyprus, where there are records of settlement at the site of the Sanctuary of Aphrodite at Kouklia, site of Old Paphos, dating from the 15th century BC, and where it seems that often the blue of the sky and the blue of the sea merge into one, the imagination can take flight and anything seems possible.
Kouklia Archeological site
Kouklia Archeological site
Kouklia Archeological Site
Kouklia Archeological Site
Kouklia Archeological Site
Kouklia Archeological site
Cyprus is a treasure trove of archeological sites with their ancient history. We enjoy visiting these places, and stand in awe of the work and artistry of the people who accomplished so much in those ancient times. In January and March 2013, I wrote about the history of wine making in Cyprus and the mosaics in New Paphos at the Archaeological Park by the sea and those posts are in elizabethsvines archives.
Pafos Archeological Site – UNESCO World Heritage Site
Entrance to Pafos Archeological site
Pafos Archeological site – site map
Well preserved and in situ, the Paphos mosaics provide insight into life on the island mainly in the Roman period although there are also examples of pebble mosaics from the much earlier Hellenistic period. Not only do the mosaics illustrate flora and fauna, they also illustrate work related to wine making.
I am so interested in mosaics as an art form that I am learning the basics of mosaic making with Sharen Taylor, a highly skilled mosaic artist and conservationist resident in Cyprus. First coming to the island to undertake professional conservation work, she subsequently conducted a two year historical research project of the Paphos mosaics. Now she dedicates herself to the “cultural heritage of mosaic making” working on commissions and teaching students at her studio in Paphos.
I have been spending hours practising the seven most used cutting techniques for tesserae ( a small block of stone, glass or wood used in mosaic making) and making a sample board, in much the same way my grandmother would have made a sample project of various needlework stitches. My grandmother was an accomplished needlewoman, as I think the expression goes. I won’t make the same claim for my tesserae/glass cutting skills but it’s fun to learn and try: more importantly it’s humbling to appreciate the immense amount of skill required to make the mosaics of people, animals, and life scenes evident at the archeological sites.
Mosaic tesserae/glass cutting techniques
Work in progress – learning mosaic making
All this thinking about mythology, archeology and mosaic making hasn’t dulled my interest in local wines and the local grape varieties of Xinisteri, white grapes and Maratheftiko, black grapes. We will be visiting some local wineries to see how wine making is progressing on the island. In keeping with the art of the possible, the wine industry in Cyprus is enjoying a renaissance and I will share Cyprus wine experiences next time I write.
Mosaic artist and conservationist: Sharen Taylor. www.sharentaylor.com
There’s a sense of excitement in the air as we start our drive last October through the vibrant green vineyards of the rolling Champagne countryside. We are going to visit four of the Grande Marque Champagne Houses, see their premises, taste their champagnes and have the opportunity to feel the ambience of these historic businesses.
Caravans of the grape pickers – Champagne
It’s harvest time and everywhere we see grape pickers at work.
We arrive at Billecart-Salmon, a medium sized Champagne House based in Mareuil sur Aÿ.
Door Sign at Champagne Billecart-Salmon
It was established in 1818 through the marriage of Nicolas-François Billecart to Elizabeth Salmon and is carried on by their descendants. I was first introduced to their champagne a year ago and enjoy the restrained, elegant style. Billecart-Salmon are known particularly for their rosé champagne but offer the full range of styles.
Four legged friends trimming the grass at Billecart-Salmon
At a tasting lunch, we experience their different champagnes with a corresponding range of savoury and sweet bouchées (bite sized offerings) from smoked salmon to chocolate, all elegantly presented in ‘silver-service’ style. We are impressed by their gracious hospitality and their pleasure in providing a full tasting and pairing experience.
Suite of Billecart-Salmon champagnes for tasting lunch
We visit the cellars where we are interested to see the chalk board listing the different plot harvests. The magic of the grape growing areas come to mind as we read Chardonnay from Cramant, Mesnil, Chouilly; Pinot Noir from Äy, Le Clos Hilaire, Verzenay, Mareuil sur Äy.
We also meet some of the younger generation of staff being groomed for senior positions and it is encouraging to see this kind of organizational development in place.
Krug premises in Reims
We continue our drive through the vineyards towards Reims, the famous Gothic Cathedral town and important hub of the Champagne industry. Our second visit is to Krug at their establishment in Reims.
Established in 1843, Joseph Krug, founder, watches solemnly over the present day proceedings from his centrally positioned portrait in the main Salon. Krug has its own allure and dedicated client following supported by the marketing arm of the LVMH, Moët Hennessey Louis Vuitton corporation, purveyors of luxury goods. Krug aficionados are invited to “share your unforgettable experiences at kruglovers.com.’
Joseph Krug, Founder and his famous notebook
At Krug, the extraordinary attention which is paid by all the great Champagne Houses to sampling, assessing and recording the year’s wines is emphasized to the extent that we understand the skill, expertise and patience that is in every top quality Champagne. At Krug itself, they sample and assess the year’s wines from nearly 250 plots. They also taste again 150 reserve wines from previous years. Each year over 5000 tasting notes are collected and recorded. This work of the Cellar Master, with Olivier Krug – who we had the opportunity to meet – and other members of their Tasting Committee sets the stage for the blend of wines for the year’s Non Vintage Champagne. We visit their cellars and see the large number of individual vats for the fermentation of wine from the individual plots, secure within a special space in the cellars. This is before we taste their formidable suite of champagnes.
Krug – individual vats for first fermentation from individual plots
By the end of the day our minds are buzzing with the experience of it all: the countryside, the people we met and their stories, the exhilarating taste of a number of champagne styles, the sights and sounds of the Champagne Region.
The hills and vineyards of Champagne
More than anything it’s the sense of being there, soaking up the atmosphere and experiencing the Champagne heritage. It’s been a great day.
Fast forward to January, 2014 and France’s culture ministry has proposed the vineyards, houses and cellars of Champagne for world heritage status (UNESCO) along with those of Burgundy. The proposal will go before the UNESCO World Heritage Committee in 2015. If approved, they will join Saint-Emilion (Bordeaux) representatives of French winemaking on the UN body’s list. We applaud this proposed recognition of talent and tradition.
In Optimism in a Bottle post 3 of 3, I describe our visit to Roederer and Bollinger.
Late 4th/early 3rd century B.C. This pebble mosaic floor belongs to an earlier Hellenistic building and depicts Scylla, the mythical sea-monster who is part -woman, part-fish and part-dog. She is illustrated holding a ship mast and a trident and is surrounded by illustrations of sea life.
Floor mosaic depicting the birth of Achilles. Roman period 58 B.C. – 400 A.D.
Paphos Archeological Site – Roman town 58 B.C to approx. 400/500 A.D. A UNESCO World Heritage Site
Late 2nd/early 3rd century A.D. This panel represents the story of Icarios. Dionysos and Acme are depicted to the left of the panel. In the centre, Icarios is seen holding the reins of an ox-driven double wheeled cart, filled with sacks of wine. Further to the right, there are two shepherds in a state of inebriation. A sign identifies them as:”The First Wine Drinkers.”
A good starting point for considering Cyprus wine-making is in its classical history as illustrated in the archeological site in the old port area of Paphos, a town situated on the south west coast of Cyprus. Paphos is included in the official UNESCO list of cultural and natural treasures of the world heritage. The Cyprus Department of Antiquities manages this site where the past merges with the present day particularly through the medium of the ancient Hellenistic and Roman mosaics.
Walking through the entrance-way and up the wide, stone steps to the archeological site, visitors arrive at the open, broad area of excavation of this promontory. The remains of the town with walkways, broken pillars and stone outlines of rooms are expansive and open to the blue sky which merges on the horizon with the blue, rolling Mediterranean Sea. This strategic site bordering the harbour provides an uninterrupted 180′ view of passing ships. What better way for the Romans to guard their Island of Aphrodite where they remained from about 58 B.C. to approximately 400/500 A.D.
There are two areas of mosaics that always draw my attention and wonder. First of all the uncovered circular mosaic floor which is open to the elements. It seems like a contemporary, beautiful carpet that I would love to own. The blues, mauves, pinks, browns are still fresh to the eye in spite of rain and sun over the centuries.
For wine lovers, the mosaic floors around the atrium of the so called House of Dionysos, 2nd – 4th century A.D., are possibly the most intriguing. The remains of this villa are so named after the figural scenes inspired by the Dionysos mythological circle which decorate the reception hall. Here are mosaic patterns depicting the wine harvest with carts overflowing with sacks of wine and there are inebriated shepherds in the picture too! The contemporary appearance of the mosaics and their clarity of colour seem to contradict their antiquity and are a tribute to the skill and creativity of the artisans who made them.
Interested visitors often lean over the rails of the raised boardwalk silently and intently gazing at the mosaics. Perhaps they feel as though they are in a time warp. Maybe they imagine that they can hear the sounds of the Roman household going about its daily routine and listen to the untold stories of the people who lived here beside the dark blue sea 1,700 years ago or even in earlier times, as illustrated by the pebble mosaic created centuries before.
Fast forward to the 21st century and grapes and grape growing remain an integral part of the Cyprus economy and society. The modern Cyprus wine industry produces a large variety of white, red and rose wines and undoubtedly draws its inspiration from these earlier times. More to come in the next Post.