I am off to a talk at The Buddhist Society today. My train is delayed by points problems. I let it all wash over me, aware of what I will to be focussing on later! Nevertheless, I feel challenged by the attitude of the GWR geezer (a new one, I think) at Newbury station who has just explained to me why the trains are late, bet you don't know! It's our fault! Yes! The public. They take a long time getting on, especially with bikes and sometimes they run back on as they forgot their laptops. Nobody realises this is the problem and GWR gets all the stick. So now we know!

Arriving half an hour late, I take the circle line to Embankment and enjoy seeing the river and the magnificent but inpractical House of Parliament.

I arrive at Tate Britian feeling hot and bothered but it is worth it. The building is cool and quiet. I want to look at a couple of areas today. I am interested in Turner following my visit to Margate. Tate Britain houses the world's largest collection of the great artist's work. This is found in changing exhibitions in the Clore Gallery.

Reclining Venus holds my attention today.

This unfinished canvas is one of a group of works painted by Turner in Rome in 1828. Some of these were exhibited in the city, but this one was evidently not ready for display and remained uncompleted when Turner returned to London. Turner was probably inspired by a marble figure of Pauline Borghese in the Villa Borghese in Rome, carved by Antonio Canova. Canova secured Turner's election to the Roman Academy of St Luke and pronounced him a 'great genius', but Turner probably felt uneasy painting a nude figure on such a heroic scale.

I wish I had longer in the Turner Collection so will return soon. My daughter has recommended

Pablo Bronstein's Historical Dances in an Antique Setting. The Argentinian born Pablo is the latest in a series of celebrated British artists to create a site specific work in response to the imposing Duveen galleries which sit at the heart of Tate Britain. Pablo Bronstein is known for his interest in pre twentieth century European design and architecture and for creating often satirical performances which fuse modern and historic elements commenting on art and its place in society. This, his most ambitious project to date, takes inspiration from the neo-classical surroundings of the Duveen galleries and the artist’s interest in the Baroque period to create a continuous live performance. Dancers move through the galleries interacting with architectural elements, creating a spectacle not to be missed.