Tower of London: A Step Back in Time

Today’s adventuring led us to the Tower of London, which might possibly be my favorite thing we’ve done so far.  This powerful fortress that has come to symbolize the authority and fearsomeness of monarchs was everything thing I thought it would be and more--tales of gruesome executions, mysterious disappearances, formidable kings, and heinous murders.  It was like submerging myself in Tudor England, which, due to my obsession with learning about King Henry VIII that developed at an early age, made this morning’s adventures even more rewarding.  I have now seen with my own eyes the places that have been for so long alive only in my imagination: Traitor’s Gate, Tower Green, the Crown Jewels (which were absolutely EXQUISITE), The Great White Tower, Bloody Tower, Yeoman Warders and Beefeaters, the famous ravens.  It was almost overwhelming to think about the staggering amount of history and legend that has taken place there.  It helped me realize how rich England’s heritage is, and visiting the Tower of London is another reminder of their many efforts to preserve that heritage in a world that is constantly changing.  I love being able to visit these historical sites, take a break from the world, and step back in time.

As I Liked It

This Monday we all went to a performance of Shakespeare's As You Like It at the Globe Theatre, which fulfilled another dream of mine.  The walk to the Globe was almost as enjoyable as the play.  In order to get to the theatre, we had to walk past a quintessential London icon: St. Paul's Cathedral.  I couldn't help singing "Feed the Birds" as we walked past.  :) We crossed the Thames using Millennium Bridge, better known as the bridge the Death Eaters "destroyed" in the latest Harry Potter movie.  The gorgeous sunset illuminating the river and gilding the cityscape made for an almost perfect moment.

Seeing a production of As You Like It at the Globe Theatre was almost like being transplanted back into Elizabethan England.  Even from the introduction of the play made without dramatic ceremony and the abrupt commencement of the action stripped away the layers of formality that have been added to the theatre, reminding the audience of the way the theatre would have been at the time of Shakespeare.  Unlike so many productions of Shakespeare today that experiment with the setting and costuming by placing it in exotic locations or time periods inconsistent with Shakespeare’s world, this particular production, directed by Thea Sharrock and acted by the Royal Shakespeare Company, stayed true to Elizabethan costuming and the setting in which Shakespeare originally wrote the play.  With minimal lighting, music (provided solely by live instrumentalists), set design, and props, the production effectively swept the audience back through centuries and allowed the ingeniously crafted lines of Shakespeare’s As You Like It to shine through.  The full effect of the theatre and production aided me in seeing the relationships between characters, the hilarity of the lines and situations, and the complexity of the conflict with more clarity.

Finding Neverland in Kensington Gardens

Taking advantage of the beautiful weather, I decided to wander around Kensington Gardens.  It was so gorgeous, and just what I expected it would be--joggers with iPods, dogs scampering, moms pushing strollers with toddlers tagging along, ducks and pigeons surrounding the pond--I could easily imagine the way it would have looked a hundred years ago: nursemaids pushing perambulators, gentlemen tipping hats to elegant ladies in pale-colored gowns wielding parasols against the soft summer sun.  There are certain places in London that seem timeless, and Kensington Gardens is definitely one of them.  It is easy to see why J.M. Barrie found his inspiration for Peter Pan in this small part of the city, London's own Neverland.

A Work of Art (Well, two of them actually)

In Bernardo Daddi’s The Coronation of the Virgin (ca. 1340) and Raphael’s Pope Julius II (ca. 1511), there are compositional elements that emphasize the distinct properties of each era.  Both works contain subject matter related to Christianity, but they greatly differ in what is being depicted.  In his painting, Bernardo depicts Christ crowning his mother Mary as the Queen of Heaven.  Although Raphael’s painting also contains a subject connected with religion, Pope Julius II, his work is a simple portrait rather than a majestic religious scene.  Bernado’s work captures a rather touching and momentous event between Christ and Mary while Raphael’s portrayal of the pope evokes a sense of sadness and discouragement.

The aesthetics of the paintings also differ, stressing the distinction of eras in which they were composed.  The colors in The Coronation of the Virgin are subdued, mostly soft pinks, grays and whites, which contrast with the brightness of gold and blue.  The lines all draw the viewer’s attention toward the top of the work.  The geometrical, simplistic forms of the bodies also lead the eye upward to the apex of the triangle almost directly above Christ’s outstretched hand, thus indicating the focus of the painting.  The gilded frame and gold paint lend to the feeling of majesty and sanctity.  Raphael also utilizes similar aesthetic elements in his composition.  In contrast with the muted colors in The Coronation of the Virgin, Pope Julius II contains more intense, low value reds and greens and bright whites, creating a striking color scheme that immediately commands the viewer’s attention.  Although Bernardo does use contour lines to give the figures a sense of depth, Raphael utilizes this technique more extensively, making the figure of Pope Julius almost lifelike and giving the painting a greater humanistic and emotional quality.  Where Bernardo’s painting is decorative, Raphael’s is less ornamented and allows the viewer to focus upon the emotional content of the painting.  These differences highlight the medieval concentration upon piety and holiness as well as the Renaissance’s emphasis upon realism and emotion.