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- <text id=93TT1833>
- <title>
- June 07, 1993: Striking At The Past Itself
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1993
- Jun. 07, 1993 The Incredible Shrinking President
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- ITALY, Page 34
- Striking At The Past Itself
- </hdr>
- <body>
- <p>Terrorists bomb the Uffizi, destroying lives and precious artifacts
- of civilization
- </p>
- <p>By ROBERT HUGHES
- </p>
- <p> How does one decipher the moral calculus of terror? In August
- 1980 a bomb blew up in the railroad terminal of Bologna, killing
- 85 people and injuring 200. Nothing was fully proved; no one
- was ever punished. So no one will ever know what agenda that
- atrocity served or whether it achieved anything for the murderers.
- Last week another bomb went off, next to the Galleria degli
- Uffizi, Florence's principal museum. A stolen Fiat van packed
- with explosives blew up in the middle of the night next to the
- museum's west wing. The fireball and blast killed five people,
- destroyed museum archives and an important library near the
- Uffizi, weakened some of its ancient structure, and destroyed
- or damaged a number of works of art. Luckily, none of them were
- Botticellis, Michelangelos, Leonardos or Titians. Paintings
- by 17th century followers of Caravaggio (two by Bartolommeo
- Manfredi and one by the Dutch artist Gerrit van Honthorst) were
- totally destroyed, and several others, including an important
- work by the Venetian painter Sebastiano del Piombo, were shredded
- by flying glass. No doubt the terrorists, whoever they were--and Italian authorities seem to be in little doubt that the
- beleaguered Mafia set the bomb--would have much preferred
- to have taken out Botticelli's Birth of Venus, Michelangelo's
- Doni Tondo and perhaps a Giotto or two. But as an image of unrepentant
- terrorist power striking back against the Italian state, the
- bombing of the Uffizi could hardly have been improved upon.
- Florentine tourism may plummet. No Italian museum or church,
- however great or venerated, can be considered safe from this
- new breed of butchers, whose target is not only human lives
- but the past itself.
- </p>
- <p> Since World War II, art vandalism has been relatively rare,
- and always (so to speak) personal. When a deranged Hungarian-Australian
- tourist named Laszlo Toth attacked Michelangelo's Pieta in St.
- Peter's with a hammer in 1972, it was because he believed himself
- to be the son of God. When the future art dealer Tony Shafrazi
- vandalized Picasso's Guernica in the Museum of Modern Art in
- 1974, he moronically fancied he was making a point about art
- politics.
- </p>
- <p> Now the game hideously expands. Serbs set out to murder the
- Bosnian Muslims' past--destroying historic mosques, incinerating
- ancient archives--as deliberate cultural genocide, to reinforce
- their scheme of human genocide. And the Mafia (or whoever it
- was) knows very well that the waters of forgetfulness soon close
- over human death: that a few years after the blood has been
- hosed away not too many people remember whether it was eight
- people or 85 who were killed by a bomb in a railway station;
- that if you want to make your power felt, a good way to do it
- is by destroying something that, unlike human life, is not even
- notionally a renewable resource. That "something" is the sense
- of a readily accessible past, without which there is no memory
- and no civilization. Herostratus, a narcissistic Greek, burned
- the Temple of Artemis at Ephesus because he thought it would
- make his name immortal. The depressing fact is that he was right.
- If he had not burned the temple, he would be utterly forgotten,
- along with 99.99% of the rest of the human population of Asia
- Minor in the 4th century B.C. Does the bombing of the Uffizi
- usher in a new convulsion of Herostratic politics? Passionately,
- one hopes not; impotently, one fears so.
- </p>
-
- </body>
- </article>
- </text>
-
-