Today can officially be called the Buckingham Marathon Day. Equipped with London Passes, we arrived at the Queen's official residence to see her place while she is away in Scotland. I read that she is in Holyrood this year. We were a bit panicked over time, and the likelihood of a long line/queue, so after rushing around one long wall of the grounds, we ran right on past the magnificent front gates and plaza to the ticket line. I had a quick impression of ornate black iron gates with elaborate and immaculately-kept gilt tops. Our rush turned out to be for nought because of the passes we were able to go right on in. VIPs to the Queen! Once inside, we were given audio guides and let loose inside the State Rooms. "Glorious" does not describe them. I'm not sure what does, actually. It is mind-boggling to think that these rooms are real, the gilt-edging on everything is real, and that state events and private events still take place in these luxurious halls. They are all so highly and richly decorated, but even the Nash's white and gold ceilings, George IV's French (?) furniture and floor-to-ceiling color schemes (blue, green, red, and white being the most striking) are stunning instead of stuffy. (Compared to French Rococo, especially!) Meanwhile, the gigantic silver gilt centerpiece of the dining room would be laughably out of place in any home in America.
As a special exhibition in conjunction with her Diamond Jubilee, the Queen had laid out a display of royal diamonds. In the dark, dramatic spotlights lit the diamonds to great effect. It was difficult to notice such things as experimental cuts on the older stones or the difference between gleaming gold, silver and platinum settings. This room was a draw not just to my outer jeweler and inner child but to everyone else in the whole palace-- it was very difficult to get people to move along so we could see the next display. Even so, the collection of tiaras, necklaces, brooches, and jeweled swords was well worth the wait!
Tangent: I was particularly interested in what I am sure is just some insignificant side to the main decorations. Pictures were not allowed in the State Rooms, so all I have is description. They were large, oval vases with smooth curving necks. Some seemed almost oriental in the simplicity of form. The decorations and materials varied for each vase or pair, but the handle motif of intertwined snakes stayed constant. A pair twisted around each other on each side and gripped the vases in different positions. They were so graceful and seductive. I wish I knew more about this motif-- where it came from, who made them, what it might symbolize. I certainly never heard of it in (sadly-lacking-in-objects) art history classes. Stone carvings with a similar style sat on the on the balcony leading to the gardens, alternating with low-handled Greek calyx kraters. Perhaps the snake-urn is a Neoclassical invention? Probably, the snakes were not referencing any Christian mythos.
Back on track: From the State Rooms, we trekked all the way around the palace again to grab tickets (free!) to the Queen's Gallery and the Royal Mews. The Mews let us in right away but we were able to secure tickets for later at the Queen's Gallery.
So, the Mews were full of carriages and horses which, honestly was a shock. Birds are more traditional. Apparently, the building was the Royal Mews for George II (I could be making up the name) some time before it became the stables. Now, the Queen frequents the place. Like many other aspects of the palace life, she is a very active participant in daily care of the horses and choosing of carriages for state occasions. This one here is known as the Glass Carriage and has traditionally been used for Royal weddings and engagements, among others.After learning about the confusingly named Mews, we stopped at an Italian cafe for lunch. Best chorizo, potato and spinach omelet ever. Also coffee, to stay alive with.
Finally the Queen's Gallery. I tested my camera's battery power with this one. The entire exhibit was made up of Leonardo da Vinci's anatomical studies/notes/drawings/doodles for an intended book of anatomy. He never published the book, as he was unable to complete the project before his death, but his systematic dissection and discoveries of human anatomy were centuries ahead of his time. Of the several hundred pages shown, I think I may have only missed 6 photos and a couple of the information cards. I've got my own personal library of da Vinci drawings now. Muahaha! I could probably go on forever about his quirky brain. However, one neat thing: in his quest to figure out the hows and whyfores of human anatomy, he often dissected animals (such as oxen) because human bodies were rather hard to get a-hold of outside of medical practices and hospitals. As a result, in some of his more "complete" drawings, da Vinci cobined both human and animal parts where his knowledge of human anatomy was scarce. It might sound like something a superstitious man would invent, but Leonard da Vinci's main problem was not a lack of willingness to discard old models (like his peers) but rather that he was so far ahead that he had no one to use as a springboard for new theories and discoveries. With a mostly dead camera, we then dragged our tired selves to Harrods, became overwhelmed by the crowds, the maze, and the scent of money wafting from Muslim ladies in very, very nice black veils that we escaped back to the Tube and dinner at a Filipino hole-in-the-wall around the corner from the hotel. Great food, not so great service. For tonight, that will be all. I believe I wrote enough and I'd like to go soak my feet.
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