Well, there’s a topical….topic, eh? But don’t worry: I’m not going to harangue you about toilet paper or eggs. The stockpiling I am talking about is considerably more metaphorical than that. When I started writing this blog, I very quickly discovered that a) many of my best ideas came to me in the small hours, when I was lying in bed trying unsuccessfully to persuade my bladder that it really didn’t need emptying and b) many of those best ideas would, by the morning, have melted away like the snows of yesteryear (What a clumsy phrase, with its harshly sibilant ‘s’ and ‘z’ in ‘snows’ and its ridiculously excessive indulgence of ‘y’ and ‘e’ in ‘yesteryear’; how much more appropriately evanescent are the softly nasal, liquid, ‘nei…’ and ‘an…’ of ‘neiges d’antan’.)

The solution, I soon discovered, was to jot down a note on my phone. Once I had started to do this, I found myself diligently adding to it, both in real time when we were in Portugal, and while recollecting in tranquility in Israel. In very little time, I had a list of 15 or so topics; armed with this stockpile, which I have occasionally added to even in the last few weeks, I have never been at a loss for what to write about in my next post.

However, this morning, in one of the fits of obsessive-compulsive spring-cleaning that the current unpleasantness has brought out in me, I got out the metaphorical stepladder and climbed up to go through the entire list with a critical eye, stretching to retrieve those packets stuck at the back of the cupboard that were well past their sell-by date, pulling out a couple of cartons that I’d already served up at least once, seizing one or two jars that I decided I couldn’t possibly serve to a mixed audience. All of these I binned, and discovered that my stockpile had dwindled down to the literary equivalent of two tins of baked bins, a packet of stale crackers and the following (I hope slightly more appetizing) snack.

In that spirit of virtual cultural tourism that we are all, I suspect, seized by these days (before we settle down to watch The Lego Movie), let me guide you round Penamacor’s municipal museum. This is something of an anomaly, being funded not by the EU, but rather by the municipality itself. The museum was founded by the local council in 1949, with the sole and very specific initial intention of preserving Penamacor’s charter (explanation later).

After a long period of stagnation, a new director was appointed in 1982 to reform the museum. This reform has included stocktaking (you see how I’m sticking closely to this week’s theme) and dusting off the exhibits, rehousing the museum in the old Military Headquarters and carrying out extensive renovation, and finally mounting an entirely new major exhibition. The result is a museum that is a surprisingly handsome asset for the village, and that does not charge an admission fee.

The new exhibition is the first that visitors encounter when they enter the museum. It is devoted to the development of man’s measurement of time. This is a more appropriate subject for the museum than you might first think, given that the villagescape of Penamacor is dominated by the castle bell tower, and that the silence of the village is punctuated every quarter hour by the chiming of the bells in the tower’s belfry, and, on the hour, by the striking of the hours from that belfry. However, rather undermining the general thrust of the exhibit, which celebrates the accuracy of human timekeeping, the chiming on the hour of the castle bells is followed an aggravating one-and-a-half minutes later by the striking of the same hours from the main church’s belfry. Mind you, this could be viewed as testament to the message of the exhibit, since the interval between the two chimings is always an undeviating 90 seconds.

When I visited, not knowing anything of the museum’s contents, I was a little nonplussed (now there’s a word I don’t get to use anywhere near often enough) to be confronted as I rounded the first corner by a splendid photo of Big Ben by night (or rather, as the explanatory text explains, ‘the bell tower of the Palace of Westminster, which is popularly known as Big Ben, whereas Big Ben is , in fact, the 14-tonne bell‘). Anyway, this sight made me feel anchored, and I enjoyed the rest of the exhibit, which explained clockwork mechanism and traced the restoration of Penamacor’s clock towers, overseen by a renowned local horologist.

This exhibit led to a second room, a large hall divided in two by a row of potted plants. The first half of the hall houses a number of displays, behind glass. These include the development of the sword and the musket through Portuguese military history, a collection of historical coins, and a range of historical scientific instruments. In the centre of the floor space are two rather splendid 19^th-Century carriages. This room served to remind me that Portugal was not always one of the poorer backwaters of Europe, but indeed enjoyed what can be regarded as a glorious, or, conversely, ignominious, history as a naval imperial power. As I walked round, I found myself humming Rule Britannia.

Incidentally, I spent many years lustily singing that anthem without once thinking about the arrogance of the lyric. Listen with me (the emphasis is mine).

When Britain first, at Heav’n’s command
Arose from out the azure main,
This was the charter of the land
And guardian angels sang this strain:

Rule Britannia, Britannia rule the waves
Britons never shall be slaves

The nations not so blest as thee
Must, in their turn, to tyrants fall.
……

You get the idea!

The second half of this large, airy room houses a collection of Christian statuary. I must confess that I gave this only a quick glance, because I had postponed my visit to the museum until a couple of days before we were coming back to Israel, and I only had 30 minutes before closing time.

Beyond the hall is a narrow vestibule, on the long walls of which hang what I imagine were the original exhibits: Penamacor’s charter and coat of arms, and a small exhibit devoted to Antonio Nunes Ribeiro Sanches, who, as the more attentive of you will remember, is Penamacor’s most famous son. Having devoted an entire post to Ribeiro Sanches, let me talk about the charter. The legality of any city, town or village in Portugal was established, in medieval times, by the granting of a royal charter, or foral. Penamacor’s foral was granted in 1209.

This included the institution of a rather splendid coat of arms for the city (as it was then), featuring the following symbols:

Leading off this vestibule are two further rooms. One houses a collection of everyday household furniture and tools, including a splendid loom, and the other features examples of the taxidermist’s art, in the form of the most notable of the local fauna, arranged in dioramas. I hope the photograph captures the eerie lifelessness of the exhibits. What it does not capture is the darkess of the room, lit only by the light in the dioramas. I felt as though I had walked into the tunnel of a fairground ghost train, or onto the set of a zombie film. The most prominent creature here is the Iberian lynx, which, having died out in the wild in Portugal, has been bred in captivity and is being reintroduced in many areas of its natural habitat, including the Serra da Malcata, the range of hills east of Penamacor that form a national park and nature reserve.

That concludes our tour of the Penamacor Municipal Museum. Admission is, as I stated, free of charge, but, should you wish to tip your guide, you might care to visit the kids’ latest video on their youtube channel, which features some lovely close-ups of their land and their son (who also happens to be our grandson – did I mention that?)