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.

Historically Speaking: Beloved Buildings That Rose from the Ashes

From ancient Rome to modern London, great structures like Notre Dame have fallen and been built again

The Wall Street Journal, May 2, 2019

A disaster like the Notre Dame cathedral fire is as much a tragedy of the heart as it is a loss to architecture. But fortunately, unlike most love affairs, a building can be resurrected. In fact, throughout history communities have gone to remarkable lengths to rebuild monuments of sacred or national importance.

There is no shortage of inspirational examples of beloved buildings that have risen from the ashes. The Second Temple was built in Jerusalem in 515 B.C. following the destruction of the First by King Nebuchadnezzar II of Babylonia in 586 B.C.; Dresden’s Baroque Frauenkirche was faithfully rebuilt in 2005, after being destroyed by bombs in 1945.

Often the new structures are exact replicas, as with Venice and Barcelona’s opera houses, La Fenice and Gran Teatre del Liceu, both of which were rebuilt after suffering devastating fires in the 1990s. If France decides to rebuild Notre Dame according to the principle “as it was, where it was,” the skill and technology aren’t lacking.

In other cases, however, disasters have allowed for beloved landmarks to be reimagined. The Great Fire of Rome in 64 A.D. led to a revolution in architectural styles and techniques. After Hagia Sophia cathedral was torched during riots in Constantinople in 532, the Byzantine Emperor Justinian asked his architects Anthemius and Isidore to build something bold and impressive. It was risky to change such a renowned symbol of the Eastern Roman Empire; moreover, for security and financial reasons, the work had to be completed in just six years. Still, the result dazzled Justinian, who exclaimed when he saw it, ‘‘Solomon, I have outdone thee.” Almost a thousand years later, following Constantinople’s fall to the Turks in 1453, Sultan Mehmet II had a similar reaction and ordered Hagia Sophia to be turned into a mosque rather than destroyed.

Sir Christopher Wren, who rebuilt St. Paul’s Cathedral in London, was not so lucky in the reactions to his creation. The Great Fire of 1666 had left the medieval church in ruins, but there was little appetite for an innovative reconstruction and no money in the Treasury to pay for it. Wren endured setbacks at every turn, including a chronic shortage of stone. At one point, Parliament suspended half his salary in protest at the slowness of the work, which took almost three decades and spanned the reigns of five monarchs.

The reason for the delay became clear after the finished building was revealed to the public. Inspired by drawings of Hagia Sophia, Wren had ignored the approved design for a traditional reconstruction and quietly opted for a more experimental approach. Ironically, many of his contemporaries were appalled by the now iconic great dome, especially the Protestant clergy, who deemed it too foreign and Catholic-looking. Yet Wren’s vision has endured. During the German bombing of London in World War II, St. Paul’s was the one building that Winston Churchill declared must be saved at all costs.

It is never easy deciding how to draw the line between history and modernity, particularly when dealing with the loss of an architectural masterpiece. There isn’t always a right answer, but it may help to remember Churchill’s words: “We shape our buildings and afterwards our buildings shape us.”