Food

The ostensible subject matter is misleading, as is any conflation with his lesser relatives’ wassailing peasants and roistering village squares. But Pieter Bruegel the Elder’s work is profoundly serious. It has a formidable intellectual content, a Shakespearian emotional range: a sardonic and stoical view of the human condition. There are paintings — ‘The Triumph of Death’, ‘The Blind Leading the Blind’ — which descend from Hieronymus Bosch. There is also the marvellous ‘Fall of Icarus’. According to recent scholarship, the version we have is not a Bruegel, but a later copy. That is plausible; it looks later. Yet the composition is classic Bruegel. He would be drawn to any legend expressing

Lanes of London serves street food to people who hate streets; that is, it exists to soothe the still-curious mouths of lazy, wealthy paranoiacs. This is the character of the dishonest age: you can ride in a gondola in Las Vegas, ski down a mountain in Dubai, visit a wizard’s castle in Watford Junction, and enjoy the Notting Hill Carnival in Mayfair while sitting down. (Other options include staying in a five-star faux shanty-town hotel in South Africa, complete with corrugated iron shacks and authentic ‘poor people’s rubbish’). It is not for me to call this madness, or to say that as funds grow more grandiose, worlds invariably shrink; or

Give us this day our daily bread: those are also words of great culinary significance. Even if the ‘bread’ takes different forms — rice, pasta, potatoes — billions of people all over the world are following in that prayer’s footsteps. ‘Staple diet’: throughout history, most people have lived off staples, or died when they ran out. Staples stimulated cookery. Over time, though it would be fun to try, even daily caviar might pall: daily bread, somewhat sooner. So those who prepared the basics tried to spice them up. If meat or fish were available, there would be no problem, but they are expensive ingredients. Most of those at subsistence level had

Woolley Grange is a child-friendly country house hotel that seems, at first, entirely monstrous — a grey Tudor house in Wiltshire, with gables like teeth and a pond outside, possibly haunted. It is like a smiling wife who bares her fangs and eats the car park and all the Hondas within; a cinematic fiend of a house, in fact, but I am only reading Hilary Mantel these days, and she has the gift of bestowing menace on everything — clingfilm, envelopes, nuts. A country house hotel doesn’t stand a chance. We are here because it is New Year’s Eve. It is my 40th birthday, A has decided that he hates

Boulestin is a pretty restaurant on St James’s Street, between the posh fag shop (Davidoff) and the old palace, which the Hanoverians thought so ghastly that they moved out to Kensington Gardens, a fresher hell full of squirrels. This is one of the more fascinating West End streets because it is 300 years old and is, as such, the only street in the West End in which the ancient nobility look safe, or even human; you pass tourists, rats and also dukes wafting towards White’s gentlemen’s club, which is duchess-free and where a grown man can be treated like a baby, and not in a perverted way. So Boulestin, named

The Wild Rabbit is a pub in the Cotswolds, that small corner of Britain full of evil grinning cottages; if the Cotswolds were a small dog it would always be mounting interior decorators and ripping out their throats. It is owned by Carole, Lady Bamford, the wife of the JCB billionaire Sir Anthony ‘Digger’ Bamford, which of course poses the question — does she have a toy one at home? And when she proved she could look after that one she got a real one? In any case, the Wild Rabbit is a story because Lady Bamford is also the owner of Daylesford Organic, which obviously helps stock the kitchens

A restaurant in a synagogue may be too mad even for this column but we are Jews, so why not? (Column shrugs with the secret frisson of negative stereotyping.) 1701 is adjacent to Bevis Marks Synagogue in the City of London; it is the oldest, wisest and most camouflaged synagogue in Britain, disguised, presumably for safety, as a Christopher Wren church. This anticipates the joy of confusion — rabbis (I have long stopped calling them rabbits, being above such idiocies, as in Orthodox Rabbit, Progressive Rabbit, Welsh Rabbit) being asked for salad dressing, waiters being asked for blessings, security men (Jews love security men, in a complex way) being asked

One Aldwych, an Edwardian grand hotel near Waterloo Bridge, is serving a Jimmy Savile tribute tea. It is not explicitly called a Jimmy Savile tribute tea; of course it is not. That would be tasteless, and people would not come to One Aldwych to eat it; it might, in fact, be lucky enough to get a picket, a dazzling marketing dream. No, it is called the Scrumdiddlyumptious Afternoon Tea and it is tied, in sugary, monetised chains, to Charlie and the Chocolate Factory, a musical featuring a man dressed as a Fisher-Price toy (and possible diabetic), child torture and obesity, and explicit abuse of small minority workers, which is playing