Stephen Bayley

Eurovision

The museum has done an inspiring job in repurposing some of its great marvels for its new post-Schengen galleries

issue 09 January 2016

Before cheap flights, trains were the economical way to discover Europe and its foibles. Personally, I enjoyed the old fuss at border crossings. By the time I was 18, I had memorised those warning notices in the carriages: Nicht hinauslehnen; Defense de se pencher au-dehors; E pericoloso sporgersi.

Those three different ways of saying ‘don’t stick your head out the window’, one bossy, the other pedantic, another gently pleading, summarised the nice subtleties of national borders that were philosophical as well as political.

Europe is a marvel. Its busy inhabitants discovered private property, social mobility, romantic love, democracy, secularism, antiquarianism, nationhood, industry, capitalism, technology, domesticity, privacy, vanity, revolution, modernism, exploration and self-expression.

To communicate their beliefs, to give form to their values, Europeans created images and objects of great sophistication. Many of these later became known as ‘art’, adding further levels of richness and meaning. But because Europeans also invented aggressive colonialism, the continent’s values are under attack.

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