A Visit to King's Chapel at Gibraltar, August 2001 I spent 30 to 45 minutes in the splendor of King's Chapel, admiring the spectacular architecture and observing all of the marvelously decorative elements in this very beautiful place of worship. One can almost feel the pulse of history which courses through these glorious surroundings, as if in one moment one may envision the many years of service provided in this remarkable space. As the building was badly damaged during the Great Siege of Gibraltar from 1779 to 1783, it is a wonder that these walls and ceilings have not only survived but also been the dedicated object of considerable renewal, preservation and restoration. During my visit here I was not disturbed by anyone and spent the entire time in quiet repose and methodical thought, glad of my opportunity to see this Chapel in person and to glean its importance in the history of Gibraltar, its people and its cultural surroundings.
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A Visit to King's Chapel at Gibraltar, August 2001 In my last post I mentioned visiting King's Chapel and the Cathedral of the Holy Trinity at Gibraltar in August of 2001. Here is another journal entry dated Friday, 31 August, written while I was living and working in Algeciras, Spain with an international team. "The windows and ceilings were bathed in light at the Chapel and the Cathedral. Both had interestingly designed pipe organs. I prayed at the Chapel. At both Churches I was the only one there. Time for reflection and encouragement!"
History of King's Chapel The Chapel adjoins the Governor of Gibraltar's residence, The Convent. Originally the building was part of a Franciscan friary, with the Chapel built in the 1530's. The Chapel was given to the Church of England by the British after the capture of Gibraltar in 1704. Military memorials and heraldic flags adorn the interior, with many memorials dedicated to members of the British Armed Forces. There are also tombs and memorials to past governors and their wives. The building was badly damaged during the Great Siege of Gibraltar (1779-83), and also damaged more recently in April, 1951 by an accidental explosion of a ship in Gibraltar harbor. Extensive restoration has been made with new stained glass windows installed in 1952 and repairs to the remarkably decorative ceilings and walls. The Chapel is used by the Army, Royal Navy, and Royal Air Force and is open to the public for services and visitation. A Fascinating Connection with Lord Cardigan In his 1953 book entitled "The Reason Why," author Cecil Woodham-Smith relates an interesting bit of history regarding Lord Cardigan, Major-General James Thomas Brudenell (1797-1868), 7th Earl of Cardigan, KCB. This officer led the Charge of the Light Brigade at the Battle of Balaclava in October of 1854, during the Crimean War. Lord Cardigan commanded the Light Cavalry Brigade, under the direction of Commander-in-Chief General Lord Raglan and Cavalry Commander Lt-General Lord Lucan. Woodham-Smith writes that Lord Cardigan's second marriage took place at the Chapel when he married Miss Adeline de Horsey, relating that "...in the course of a cruise in Lord Cardigan's magnificent yacht the marriage took place in September, 1858, at the Military Chapel, Gibraltar; Mr. de Burgh was a witness." Further historical information on Lord Cardigan and the Light Brigade can be obtained through consulting Mark Adkin's book entitled "The Charge: The Real Reason Why the Light Brigade Was Lost" published in 1996, and Terry Brighton's book entitled "Hell Riders: The Truth about the Charge of the Light Brigade" published in 2004, containing many first-person accounts. Journal Entry: Friday, 31 August, 2001 Algeciras, Spain "We went yesterday to Gibraltar on an Operation Transit sponsored tour (Mediterranean Crossing). It was picturesque, with vivid surveys of the spectacular vistas from the high promontories of the Rock. I enjoyed my companions, Debbie, Christy, Carol, Amy and Leslie. Our friends from Costa Rica (Carlos, Junio and Karla) couldn't go because they had forgotten their passports. I like the military flavor of Gibraltar. One of the rock monkeys climbed up on me and sat on my head! I had a most peaceful opportunity to visit King's Chapel and Holy Trinity Cathedral. Such divine architecture and heavenly light!"
Exploring the Atmosphere at Gibraltar There are spacious open-air markets and restaurants as you first enter into the commercial district. The original military barracks have been converted into retail space, galleries, gift shops and museums. One can watch glass being blown into thousands of shapes at a glass-works factory just off the main market square. The streets lead into narrow alleyways which still afford occasional glimpses of the sea which lies beyond the densely populated areas. I asked our tour guide, Charlie, what the current population might be (in 2001). He thought about 30,000. The landing strip at the airport is fairly short and tourists must walk across the runway in order to visit the commercial district. The British officials at the entrance gate are very efficient and courteous at processing and checking passports and handling typical tourist questions. Breathtaking Sights and a Vivid Sense of History Altogether I enjoyed immensely my time spent here, seeking some out-of-the-way places and gaining an appreciation for the culture of this fascinating place. You can spend hours or even days exploring the many faceted features and pleasures of Gibraltar, gaining special insights from the local population and from those who work here. It is upon the heights that I most fondly remember the views which can take one's breath away. As you look out upon the vast blue waters along the far horizon, it is easy to imagine the historical significance of this geological location on the world's map. It is the Rock which, after all these many Centuries, still stands! Processing Motion Picture Film at Vandenberg AFB in 1971-72 While stationed at Vandenberg in the early 1970's, I had an opportunity to work on the technical aspects behind the making of motion pictures for the U.S. Air Force. The four major areas of training involved Processing, Printing, Timing & Assembly, and Quality Control. Our initial training took place at Lowry AFB just outside Denver, Colorado. My assignment to Vandenberg introduced me to the beautiful weather and lovely countryside of California. Moving from the snow, ice and bitter cold of Colorado in December 1970 to the radiant sunshine and balmy, warm temperatures of Southern California in January 1971 came as quite a welcome surprise in the Winter of that year. Instead of weathering gray overcast days while confined indoors, I found flowers in full bloom and the intoxicating aroma of freshly mowed grass greeting my senses as I arrived on base.
The Processing Lab The large Houston-Fearless ME-4 processing machines cast an impressive sight at first glance and required a great deal of technical know-how in their maintenance and operation. The dark end allowed only a barely perceptible glow of low grade red light, so one had to adjust between the brightness of the light end of the machine and the relative dimness of the dark. I often had the task to clean the machines and learned how to make their stainless steel exteriors gleam with a bit of hand polishing along their long and intricate architectural edges. The Photo The photographer wanted an action shot of an Airman working at the light end getting ready to cut the film at the appropriate moment, a series of steps to assure that each spool of film was handled properly and that the machine would continue to run without having to shut down. There was only a brief moment of time allowed to photograph this event and then the final result handed to me some time later. I was an Airman First Class at the time on my way to becoming a Sergeant. Later I would be transferred to the Editorial Section where I would work as an Artist/ Illustrator doing charts & graphs, designing creative projects and learning some of the basics of lettering and film animation. Further Drama, Adventure & Scenes As the island dwellers climb to the top of a steep and active volcano, they observe a small boat just off shore far in the distance. Clambering back to the sandy beach in hopes of making contact, the group discovers two surviving ladies and one dead seaman washed ashore. Bernard Herrmann's music is tender and compassionate at the discovery of these two lone survivors of an apparent shipwreck off shore. Herrmann once described a film's soundtrack music as "the connecting link between celluloid and audience, reaching out and enveloping all into one single experience." Mysterious Island features one of Herrmann's best scores, also available separately via a Tribute Film Classics CD with William Stromberg conducting the Moscow Symphony Orchestra. The score restoration is by John Morgan, Anna Bonn, and William Stromberg, available from screenarchives.com. The music is fabulous, with wide range high fidelity sound and tremendous scope and symphonic power. In 1975 the Decca Record Company issued a classic LP entitled "The Mysterious Film World of Bernard Herrmann," featuring Herrmann conducting the National Philharmonic Orchestra on a London Phase 4 Stereo disc, recorded at Kingsway Hall in London. Besides several selections from "Mysterious Island," this LP also includes music from Herrmann's scores for "Jason & The Argonauts" and "The Three Worlds of Gulliver." Interesting Characters & Fascinating Dimensions Actress Joan Greenwood (1921-1987) plays Lady Mary Fairchild with her regal accent and noble bearing. Born in Chelsea, Joan Greenwood studied at the Royal Academy of Dramatic Art and appeared in films such as "Kind Hearts & Coronets" (1949) and "The Importance of Being Earnest" (1952). She enjoyed a stage career appearing with Donald Wolfit's theatre company in the years following WWII. In her role as Lady Mary in "Mysterious Island," Ms. Greenwood is simply sensational, adding dramatic delight and superlative character to her portrayal of a shipwrecked survivor now stranded upon an uncharted but enchanted island in the Pacific. After the two surviving ladies are discovered on the beach, Herbert relates to Lady Mary that "We came by balloon," to which she immediately responds, "I beg your pardon....Please don't talk nonsense!" Obviously it is an incredible claim by the escaped prisoner of war, but Capt. Harding assures Lady Mary that it is indeed a true if somewhat incredulous story of their flight via a hot air balloon over the Pacific waters. Both Lady Mary and her niece Elena Fairchild (played by actress Beth Rogan) add beauty and grace to this tropical paradise amidst a splendid series of fantastic adventures. Details Along the Journey The film continues with brief portraits of forests and woods. Several scenes feature a sensational portrait of caves which Capt. Harding climbs via long lengths of hanging vines in order to inspect the interior. As the Captain enters the caves high above the sandy beach, Bernard Herrmann's music again helps to fashion the atmosphere and drama of the scenes inside the cave. The Captain finds a letter dated 1862 from a dusty diary hidden within the confines of the secretive cave. After determining that the cave would make a suitable home for the island survivors, Capt. Harding orders the rest of the crew to ascend the vines in order to fully inspect the entirety of the cave's interior. In the film's narrative voice-over, the Captain relates that their newly found home was christened "The Granite House," now accessible via a homemade elevator, adding that, "We lived like primitive men." As the group becomes comfortable in their lofty aerie, the conversation between Mr. Spilitt and Lady Mary enters a delightful phase as Mr. Spilitt turns toward the elegant Lady, eloquently stating the observation that, "At the moment my main comfort is your presence." Mr. Spilitt pretends to use opera glasses as he takes a momentary break from shaving in this inventive, imaginative and thoroughly captivating scene. Dramatic Events & Exotic Atmosphere During the storm sequence over the Pacific Ocean, the rapidly descending balloon is pushed further westward toward an unknown island. We catch a brief glimpse of some rocks in the distance as one of the crew announces the sound of waves crashing against the shore. The group remains in a precarious position above the churning waters below, as rain continues to lash the balloon amid furious winds and the threat of impending disaster. Capt. Harding falls from the rigging and hits the water, followed by Herbert and then Mr. Spilitt who says he will swim all the way to shore. Neb and Sgt. Pencroft are the only two left holding onto the balloon's rigging as they are finally dragged up onto the sandy beach. The following scene opens upon a magnificent beach as the survivors begin to search for Capt. Harding. The matte painting is sensational in this beautiful portrait of a tropical island, with fluttering seagulls waving about and huge volcanic mountains in the distance. The atmospheric flavor breathes with incredible color, splendid detail and verdant tropical majesty. Full credit for the masterfully created scenes in this film would have to include William C. Andrews (Art Direction), Francisco Prosper (Construction Coordinator, Art Department, uncredited), Ray Harryhausen (Creator of Visual Effects), Vic Margutti (Special Photographic Effects, uncredited), Wilkie Cooper (Cinematography), Cy Endfield (Director), Charles H. Schneer (Producer), and Bernard Herrmann (Music, with the London Symphony Orchestra). Making a Home on the Island & Exploration of the Landscape In order to restore stamina for the crew after finding Capt. Harding, Mr. Spilitt cooks up a batch of giant oyster stew "seasoned with seaweed." There is some speculation amongst the survivors as to their exact location, perhaps Figi or New Zealand. Capt. Harding narrates the evolving story via his detailed observations delivered through the accompanying voice-over. "The landscape everywhere was a mixture of the strange and the beautiful." Volcanoes stand surrounded by tropical palm trees and sandy beaches, all of it "a riot of wonderful hues and fantastic colors." The Captain relates that there is "no evidence that man had ever set foot here before." Towards an exploration of the interior of the island, a stream and a magnificent waterfall appear in the midst of a lush tropical forest, again the results of spectacular matte painting. The survivors manage to battle a giant crab and win the fight when the creature falls into a hot geyser along the beach. We catch glimpses of a realistic volcano in the distance, which Capt. Harding orders the crew to scale in order to better observe their present location. In managing to climb to the summit of the volcano, Mr. Spilitt finds a pleasant surprise. "Giant mice!" he exclaims upon finding a herd of wild goats, all of which are dutifully pressed into service. Looking into the mouth of the volcano, one can perfectly visualize both the splendor and the terror of this genuinely awe-inspiring phenomenon. There are windswept days in the Arizona Desert where seemingly every color of the spectrum may be examined upon close inspection. This particular area is just north of McKellips Road and Crismon Road in East Mesa, an area where Usery Mountain Regional Park stands adjacent to Tonto National Forest. After a period of seasonal rain, it is amazing to see how green this area becomes, bursting with lime-green, yellow-green, emerald green and dozens of other varieties of spectacular hues. When the desert is dry, one notices the rust-colors, the tans, the yellow ochres, the bleached greys, faded green hues and ashen rocks. The wildlife also exhibits great variety of color, from flashy iridescent hummingbirds to motley colored songbirds and rustic desert quail. Once I visited a Park nearby and witnessed Harris hawks sailing high overhead, looking like noble black falcons on a cerulean blue sky. I am reminded of a phrase coined by American artist Wolf Kahn, a gifted painter and fantastic landscape artist. Kahn once told a group of Drew University art students that he was intrigued by "the tangles of nature," those outdoor spectacles we notice when we truly study and observe the natural environment which surrounds us. The Arizona Desert is indeed such an environment, filled with tangles and colorful spectacles stretching from the desert floor all the way to the blue-grey, purple and lavender mountain peaks.
I love the contrasts between light & shadow upon the desert mountains of Arizona. This area is known as Usery Mountain Regional Park, located just 20 minutes from my home in Mesa. The Park encompasses 3,648 acres and is situated at the western end of the Goldfield Mountains, adjacent to the Tonto National Forest. Pass Mountain rises to 2,840 feet and features a spectacular hiking trail which allows views of 70 or more miles into the distance beyond. The lower Sonoran Desert is a fascinating place offering a wealth of rich color and a diverse variety of flora & fauna. On a bright day with palatial clouds sailing overhead, you can absorb the pulse and atmosphere of this remarkable environment. As you take in the sweet birdsong and distant calls of wildlife, for just a moment you begin to absorb the manifold beauties of the wilderness preserve. I have stood here in the midst of the Arizona desert, feeling the power of the sun momentarily dispersed through the traveling court of clouds high overhead. In the quiet of pristine clarity, one comes closer to the ever evolving sounds of nature, hearing the sometimes muffled cries in the distance interwoven with the startling immediate presence & pulse of desert wildlife. The desert quail and other birds often respond to the sounds produced via the Audubon bird call, coming closer to inspect the source of the tweets, chirps and foreshortened birdsong. One feels the immense carpet of time-change sweep from early morning to late afternoon, noticing the colors of the day as they morph from brilliant hues to faded transparencies. These are the feathers of time, where the mountains, rocks and trees diligently mark the passage of years, decades, centuries and beyond. How great a privilege to see and hear this remarkable environment, a place of everlasting Light & Shadow.
There is a special majesty in watching palatial clouds silently sail above the Desert landscape of Arizona. I vividly recall Alexander Korda's 1940 fantasy film masterpiece "The Thief of Bagdad." When I view scenes such as the one included here, I am transported to another world, a place of enchantment foretold in "The Arabian Nights" stories. Antoine Galland popularized these spectacular tales in "The Thousand and One Nights" (1704), forever immortalizing names such as Sinbad, Aladdin & Ali Baba. Korda's film stars John Justin as Prince Ahmad, Conrad Veidt as Jaffar, June Duprez as the Princess, and Sabu as Abu. On a day when these splendid clouds sail high overhead, I reflect upon the stunning visual imagery captured by those magnificent flying carpet scenes. Through the art of wondrous special effects, I too fly high above the earth via a heightened sense of ebullient imagination.
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