Today, in a world where one aggressively tries to change natural laws to comply with ephemeral, incoherent ideology, a 'royal wedding' seems so refreshingly sane, and reassuringly comforting. Another moving, monumental, fairy tale in what often appears to be a mundane, unimaginative, over officious, sectarian world.
The French avidly follow such royal celebrations, maybe even more so than the Brits. Could it be a degree of secret compensation for having done away with their own monarchy and aristocracy? Yet ironically, but justifiably, the French are proud of the rich patrimony that the rejected, decapitated, politically incorrect monarchs and aristocrats left to posterity. If certain, partisan, 'history teachers' had their own way however, Napoléon, for another politically incorrect example, would no longer figure in history books either. But Paris wouldn't be Paris without les Invalides, a master piece of French Baroque commissioned by Louis XIV (1643-1715) with its Church decorated with captured flags from the Napoleonic wars, and its military museum. Then there’s the Vendôme column of Vendôme square commemorating the victory of Austeritz. The bronze covering the column was the bronze of melted down, captured cannons from the same battle. Then of course the Arc
de Triomphe was a fine initiative of Napoléon. Its petit frère is the Arc du Carrousel, also built by Napoléon in 1806. For a period before Napoléon's defeat in 1815, this arch was embellished with the pillaged, Venetian quadriga.
In the early thirteenth century the Venitians claimed the quadriga, probably saving the fine antique Roman sculpture of four horses from being destroyed just for its bronze (or rather copper) during the sack of Constantinople in 1204. The quadriga was returned to la Piazza San Marco soon after Napoléon's defeat, and no doubt it's just as well.
L’Arc du Carrousel was originally the entrance of le Palais des Tuileries which was unfortunately destroyed during la Commune in 1871. La Place de la Concorde, with its colonnade de la Madeleine was also originally commissioned by Napoléon. Another Napoleonic site is le Château de la Malmaison located towards the west of Paris. It was the home of Empress Joséphine, the first wife of Napoléon.
There are, of course, many fine châteaux in la Vallée de la Loire.
Perhaps the most famous, prestigious, and symbolique French Château is that of Versailles of Louis XIV. It was expanded in 1661 and finally completed in 1715.
Naturally most nations pride their monuments and great architecture that reflect so well their history. Compared to the 'old continent', American recorded history seems limited, although there is evidence of Norse or Viking incursions to North America, without considering the vast, elusive, spiritual history of tribal Indians.
European awareness of America began towards the end of the 15th century (1492), but it wasn't until the early seventeenth century that successful colonialism was established. From then on the history of North America is epic, with world wide influence.
All this to underline how regressive and ignorant it is to try to erase history by destroying edifices and monuments for ephemeral, ideological motives. This obviously includes the American commemorative monuments of the civil war.
The Taliban had nothing better to do than try to destroy the Buddhas of Bamiyan, 4th and 5th century monumental statues of Gautam Buddha carved into the side of a massive rock face in the Bamyan valley in central Afghanistan. Similarly ISIS destroyed, amongst other historic gems, priceless Etruscan base reliefs, as if history had no value, or as if it had to start over again, as decreed by regressive idiots.
Despite the wealth of historic evidence that supports the Israeli claim of authentic heritage, never have the Israelis dismissed the rights of the Palestinians. This was proved by the Jewish authorities acceptance of the UN proposals of 1947. Proposals that were categorically rejected, not by the Palestinians, but by the Arab League.
An intelligent Palestinian would know that one can contribute in forging history, and in commemorating historic events, simply by planting orchards of fruit trees, or by lovingly caring for one's garden. No one can forge history by trying to erase it, or by blundering about burning used tyres.
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Text © Mirino. (Photo of the Quadriga by Irving GFM with thanks). May, 2018
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It was thought that the Triumphal Quadriga, of the Piazza San Marco, a fabulous prize of war saved by the Venetians during the sack of Constantinople in 1204, were sculpted and cast in bronze by a certain Greek sculptor. Since then some maintain that they were worked mostly in copper, not by a Grecian sculptor, but by a Roman artist.
Although one would welcome information regarding whether they were cast in bronze or worked largely in copper, their superbly detailed, realistic aspect is more likely to be the ancient work of a Roman artist than a Greek one. Grecian artists always idealised, according to established anatomical formulas. Throughout the ages artists referred to Greek works, especially of the human body, in order to understand and apply such idealisation when required.
The idealisation of the Romans was more personal and individual. Although they would enhance the strength of character and nobility to sculptured bust portraits of supposedly revered emperors, senators and generals, they would always strive to portray them reasonably accurately.
The exquisite Quadriga, now conserved, protected from atmospheric pollution, also express this 'romantic' strength, nobility, and individual character.
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