Historically Speaking: The Tragedy of Vandalizing the Past

The 20th anniversary of the destruction of the Bamiyan Buddhas in Afghanistan reminds us of the imperative of historical preservation

April 15, 2021

Twenty years ago this spring, the Taliban completed their obliteration of Afghanistan’s 1,500-year-old Buddhas of Bamiyan. The colossal stone sculptures had survived major assaults in the 17th and 18th centuries by the Mughal emperor Aurangzeb and the Persian king Nader Afshar. Lacking sufficient firepower, both gave up after partly defacing the monuments.

The Taliban’s methodical destruction recalled the calculated brutality of ancient days. By the time the Romans were finished with Carthage in 146 B.C., the entire city had been reduced to rubble. They were given a taste of their own medicine in 455 A.D. by Genseric, King of the Vandals, who stripped Rome bare in two weeks of systematic looting and destruction.

One of the Buddhas of Bamiyan in 1997, before their destruction.
PHOTO: ALAMY

Like other vanquished cities, Rome’s buildings became a source of free material. Emperor Constans II of Byzantium blithely stole the Pantheon’s copper roofing in the mid-17th century; a millennium later, Pope Urban VIII appropriated its bronze girders for Bernini’s baldacchino over the high altar in St. Peter’s Basilica.

When not dismantled, ancient buildings might be repurposed by new owners. Thus Hagia Sophia Cathedral became a mosque after the Ottomans captured Constantinople, and St. Radegund’s Priory was turned into Jesus College at Cambridge University on the orders of King Henry VIII.

The idea that a country’s ancient heritage forms part of its cultural identity took hold in the wake of the French Revolution. Incensed by the Jacobins’ pillaging of churches, Henri Gregoire, the Constitutional Bishop of Blois, coined the term vandalisme. His protest inspired the novelist Victor Hugo’s efforts to save Notre Dame. But the architect chosen for the restoration, Eugène Emmanuel Viollet-le-Duc, added his own touches to the building, including the central spire that fell when the cathedral’s roof burned in 2019, spurring controversy over what to restore. Viollet-le-Duc’s own interpolations set off a fierce debate, led by the English art critic John Ruskin, about what constitutes proper historical preservation.

Ruskin inspired people to rethink society’s relationship with the past. There was uproar in England in 1883 when the London and South Western Railway tried to justify building a rail-track alongside Stonehenge, claiming the ancient site was unused.

Public opinion in the U.S., when aroused, could be equally determined. The first preservation society was started in the 1850s by Ann Pamela Cunningham of South Carolina. Despite being disabled by a riding accident, Cunningham initiated a successful campaign to save George Washington’s Mount Vernon from ruin.

But developers have a way of getting what they want. Not even modernist architect Philip Johnson protesting in front of New York’s Penn Station was able to save the McKim, Mead & White masterpiece in 1963. Two years later, fearing that the world’s architectural treasures were being squandered, retired army colonel James Gray founded the International Fund for Monuments (now the World Monuments Fund). Without the WMF’s campaign in 1996, the deteriorating south side of Ellis Island, gateway for 12 million immigrants, might have been lost to history.

The fight never ends. I still miss the magnificent beaux-arts interior of the old Rizzoli Bookstore on 57th Street in Manhattan. The 109-year-old building was torn down in 2014. Nothing like it will ever be seen again.

WSJ Historically Speaking: Why Walls Rarely Keep Enemies Out

Photo: DEAGOSTINI/GETTY IMAGES

Photo: DEAGOSTINI/GETTY IMAGES

News of the latest theft of sensitive American information— this time of some 4 million records from the federal government’s Office of Personnel Management, allegedly by Chinese hackers—highlights the unfortunate truth about defensive walls. They may offer great psychological  comfort, whether as firewalls in the online world or stone walls and natural barriers in the real one, but they rarely work.

In the Book of Joshua, the Israelites engineered a brilliant victory by stamping their feet for seven days and blasting the walls of Jericho with their trumpets. In “The Aeneid,” Virgil described how the Trojans brought about their own downfall by bringing the famous wooden horse inside their gates. In his monumental “The Histories,” Herodotuslauded the courageous but futile last stand of the Spartans at the Battle of Thermopylae (480 B.C.) after they were betrayed by Ephialtes of Malis, who showed the Persians a secret route through the mountains that led to the back of the Greek lines. But these striking failures didn’t deter subsequent generations from believing that walls could keep them safe.

Continue reading…

WSJ Historically Speaking: A Night at the Theater Often Used to Be a Riot

Photo: LIBRARY OF CONGRESS

Photo: LIBRARY OF CONGRESS

Before the era of sky-­‐high ticket prices, the theater functioned much like a public park: a communal space where all social classes could come together. The drama onstage was often just a backdrop for the public theater being enacted by the audience. Political venting, social protesting and even rioting were common occurrences—especially in springtime, when the warmer weather let open-­‐air theaters resume business.

The Nika riots in 6th-century Byzantium (so dubbed because the rioters chanted “Nika,” meaning “conquer” or “win”) remain the deadliest in theater history.

In 532 A.D., during the reign of Emperor Justinian, the two political factions—the aristocratic Blues and the plebeian Greens—unexpectedly united to protest against new taxes during a public spectacle at the Hippodrome. Using the storied arena as their base, the rioters managed to burn down more than half of Constantinople before Justinian had the Hippodrome surrounded and every exit blocked. His soldiers proceeded to slaughter everyone inside. Contemporary accounts claimed that the death toll exceeded 30,000. After that, public theater of any kind was strongly discouraged by the Byzantine authorities.

Continue reading…