Notes from a fascinating world.
The world is like a bazaar, full of interesting odds and ends, and I've been exiled into it. This is my all-over-the-map (literally and metaphorically) attempt at capturing some of the world's many wonders.
I have wanted to visit Baalbek since high school. And it wasn’t even because of the alien spaceships.
Mr. Hamel, my classics and art history teacher back in New Zealand, showed us photos of Baalbek as an example of Roman temple architecture. Mr. Hamel’s lessons, including on Baalbek, form a cornerstone of my education.
And now I have finally seen it for myself.
One thing my late professor of art and architecture Vincent Scully taught me is this: Just as music is the silence between the notes, so architecture is the dialogue among the buildings and the landscape.
Professor Scully’s deeper scholarship is beyond my ability to engage with intelligently. But being in Budapest makes me mindful of a more obvious level of dialogue among buildings and monuments, the representation of a nation’s history.
Much of Hungary’s difficult modern history is told along a 700-meter stretch of Budapest from Szabadsag ter (Liberty Square) to the parliament building. At the center of the semi-circular northern portion of Liberty Square stands a obelisk-like monument with a Cyrillic inscription dedicated to “Soviet heroes” who liberated Hungary from Nazi occupation. It is a testament to Hungarians’ historical memory that they chose not to demolish this monument after the Cold War.
The Inca Empire, more properly called Tawantinsuyu, had today’s Cusco, Peru as its capital. Designed in the shape of a puma, it stood at the center of the ancient road system known as Qhapaq Nan that connected the whole empire from Chile to Ecuador. After the Conquistadors came, Cusco became the first center in the Americas that taught European painting techniques to native and mestizo artists. In the end it gave birth to a new school of remarkable hybrid religious art that sought to combine, or code-switch between, the Catholic teachings of the missionaries and traditional Incan beliefs.
The missionaries wanted these paintings for didactic purposes, to express Christian doctrines to a native population that mostly could not understand sermons. To make these images acceptable to the native Quechuas, the artists incorporated many ideas already familiar to them.
The figures of warrior angels, for example, became extremely popular because they recalled winged deities in traditional Incan religion. Walking around Cusco even today, you can immediately see this artistic legacy. Seemingly every other storefront has a painting of a Michael or a Gabriel or some other angel on the wall. And they are often depicted in a manner distinct to Cusco, for example as Spanish gentlemen bearing muskets, like in this depiction of Uriel, the guardian of the sun (the sun, Inti, being incidentally a chief god of the Incas).
Writer, traveler, lawyer, dilettante. Failed student of physics. Not altogether distinguished graduate of two Ivy League institutions. Immigrant twice over. "The grand tour is just the inspired man's way of getting home."