Fernando Báez, in A Universal History of the Destruction of Books (2004), asks for what reasons fire has been the dominant agent in the destruction of books. And he answers:
Fire is salvation, and for that reason, almost all religions dedicate fires to their respective divinities. This power to conserve life is also a destructive power. When man destroys with fire, he plays God, master of the fire of life and death. And in this way he identifies with a purifying solar cult and with the great myth of destruction that almost always takes place through fire. The reason for using fire is obvious: it reduces the spirit of a work to matter. (translated by Alfred MacAdam)
EKPYROSIS TODAY
Fire is the destroyer in every time of war, from the fabulous and fabled Greek fire of the Byzantines (a military secret if ever there was one, and on this point I’d like to recall Luigi Malerba’s fine novel Il fuoco Greco) to the chance discovery of gunpowder by Berthold Schwarz, who died as a result, in a personal and punitive ekpyrosis. Fire is punishment for traitors in war, and “Fire!” is the command for every firing squad, as if the origin of life is being invoked to hasten the end. But perhaps the fire of war that has most terrified humanity—by which I mean all of humanity, around the globe, conscious for the first time of what was taking place in one part of it—was the explosion of the atomic bomb.
One of the pilots who dropped the bomb on Nagasaki wrote, “All of a sudden the light of a thousand suns lit up the cabin. I was forced to close my eyes for two seconds, despite my sunglasses.” In the Bhagavad Gita it was written, “If the radiance of a thousand suns were to burst at once into the sky, that would be the splendor of the mighty one . . . I am become Death, the destroyer of worlds.” These verses came to Oppenheimer’s mind after the explosion of the first atomic bomb.
With which we come dramatically close to the end of my lecture and—over a more reasonable space of time—to the end of human existence on Earth or the existence of Earth in the cosmos. Because now, as never before, three of the primordial elements are under threat: air, throttled by pollution and by carbon dioxide; water, contaminated on the one hand and increasingly scarce on the other. Only fire is victorious, in the form of a heat that, by parching earth, is upsetting the seasons, and by melting the icecaps, is inviting the seas to invade it. Without realizing it, we are marching toward the first real ekpyrosis. While Bush and China reject the Kyoto Protocol, we are marching toward death through fire—and it is of little importance to us whether the universe regenerates after our holocaust, because it will no longer be ours.
The Buddha made this recommendation in his “Fire Sermon”:
Monks, all is aflame. What is aflame? The eye is aflame, O monks, forms and colors are aflame, visual awareness is aflame, visual contact is aflame, and whatever sensation arises depending on the contact of the eye with its projections—whether perceived as pleasant, unpleasant, or neutral—that too is aflame. Aflame with what? Aflame with the fire of attachment . . . Aflame, I tell you, because of birth, aging, and death, because of pain, sorrow, anguish, despair. The ear is aflame, sounds are aflame . . . The nose is aflame, aromas are aflame . . . Taste, O monks, is aflame, flavors are aflame . . . Touch, O monks, is aflame . . . The mind, O monks, is aflame . . . O monks, seeing all thus, the noble disciple who has understood the teachings is serenely disenchanted with the eye, with forms and colors . . . with the ear, with sounds. He is serenely disenchanted with aromas . . . with anything arising depending on the contact of the tongue with its objects, whether perceived as pleasant, unpleasant, or neutral.
But humanity has been unable to relinquish (even in part) its attachment to its own aromas, tastes, sounds, and tactile pleasures—and to relinquish producing fire through friction. Perhaps it should have left the production of fire to the gods, who would have given it to us only once in a while, in the form of a thunderbolt.
[Lecture given during the 2008 Milanesiana festival of literature, music, and cinema, organized around the theme of the four elements—fire, air, earth, and water—on July 7, 2008.]
Treasure Hunting
TREASURE HUNTING IS A fascinating pursuit. It is well worth making a journey, organizing it properly, and following a route that takes in the more interesting treasuries, searching them out also in lesser-known abbeys. There may no longer be any point going to Saint-Denis, on the outskirts of Paris, where in the twelfth century the great Abbot Suger, an avid collector of jewelry, pearls, ivory, gold candelabra, and figured altarpieces, had turned his collection of precious objects into a kind of religion and mystical philosophy. Sadly, the collection of reliquaries and sacred vessels, the robes worn by kings at their coronations, the funeral crowns of Louis XVI and Marie Antoinette, and the panel of the adoration of the shepherds presented by the Sun King have all gone, though some of the finest pieces are still to be found in the Louvre.
A visit to Saint Vitus’s Cathedral in Prague, however, should not be missed—here are the skulls of Saint Adalbert and Saint Wenceslas, the sword of Saint Stephen, a fragment of the Cross, the tablecloth from the Last Supper, a tooth of Saint Margaret, a fragment of the tibia of Saint Vitalis, a rib of Saint Sophia, the chin of Saint Eoban, Moses’ staff, and Our Lady’s robe.
Saint Joseph’s engagement ring was listed in the catalog of the fabulous but now dispersed treasury of the duc de Berry, but it is apparently at Notre-Dame in Paris. And on display in the Imperial Treasury in Vienna are a piece of the manger from Bethlehem, Saint Stephen’s purse, the lance that struck Jesus’ flank, a nail from the Cross, Charlemagne’s sword, one of Saint John the Baptist’s teeth, a bone from the arm of Saint Ann, the apostles’ chains, a piece of Saint John the Evangelist’s clothing, and another fragment of the tablecloth from the Last Supper.
But however interested we might be in treasures, those closest to home are the ones we are least likely to know. I reckon, for example, that few people who live in Milan, not to mention tourists, have ever visited the treasury at Milan Cathedral. There you can admire the cover of the Book of the Gospels belonging to Archbishop Aribert (eleventh century), with beautiful cloisonné enamel plaques and gold filigree, inset with precious stones.
Searching out precious stones and their various qualities is one of the favorite pursuits of enthusiasts—it is not just a matter of looking for diamonds, rubies, or emeralds, but also for those so often mentioned in the holy scriptures, such as opal, chrysoprase, beryl, agate, jasper, or sardonyx. If you’re clever, you will be able to distinguish between real and false stones. There is a large silver baroque statue of Saint Charles Borromeo in the Milan Cathedral Treasury whose whole breastplate and cross are covered with glistening gems, since those who had commissioned it regarded silver as a poor material. And some, according to the catalog, are real while others are just colored crystal. But leaving aside mercantile considerations, we have to admire above all what the makers of these objects wanted to achieve: an overall effect of amazing richness—not least because most of the precious materials are genuine, and the shop window of the finest Paris jeweler, in comparison to any treasury side-cabinet, is worth little more than a stall in a flea market.
I suggest you then have a look at the larynx of Saint Charles Borromeo, but take a closer look at the Pax of Pope Pius IV, a small shrine with two gold and lapis lazuli columns that frame in gold the Deposition in the Holy Sepulcher. Above it is a golden cross with thirteen diamonds on a disc of banded onyx, while the small pediment is decorated with gold, agate, lapis lazuli, and rubies.
Going back further in time, to the period of Saint Ambrose, there is an embossed silver chest for relics of the apostles, with magnificent bas-reliefs. But the most interesting bas-reliefs are those of the fifth-century Five-Part Diptych, an ivory Ravenna-style series of scenes from the life of Christ; at the center is the Mystical Lamb of God in gilded silver with molded glass, a single image in pale colors on a background of ancient ivory.
They are examples of what historical tradition has wrongly accustomed us to describe as lesser arts. They are quite clearly “art,” without the adjective, and if there is anything “lesser” (meaning worth less artistically) it is the cathedral itself. If there was a flood, and I was asked whether to save Milan Cathedral or the Five-Part Diptych, I would certainly choose the latter, and not because it would be easier to fit inside the ark.
Nonetheless, even considering the crypt (known as the Scurolo) for Saint Charles Borromeo, with the body of the saint in a container of silver and crystal that seems to me more miraculous than its contents, the Cathedral Treasury does not display all that it might. Reading through the Inventory of the Vestments and Sacred Furnishings of Milan Cathedral, we realize that the treasury itself is only a tiny part of a
