Romola · Chapter
XLIX: The Pyramid of Vanities explained
During the wintry days, Romola finds herself detached from public affairs, troubled by Tito's hints and the political situation in Florence.
What happens
During the wintry days, Romola finds herself detached from public affairs, troubled by Tito's hints and the political situation in Florence. By Carnival time, the Mediceans are actively trying to elect Bernardo del Nero as Gonfaloniere. On the last day of Carnival, Romola goes to the Piazza della Signoria to see the 'Pyramid of Vanities'—a large structure of items deemed sinful by the Piagnoni, including books, art, and feminine adornments. She encounters Piero di Cosimo, who criticizes the burning of poetry and art, while Romola defends Savonarola's strictness, reflecting on her own affinity for sadness and self-renouncing strength.
Themes in this chapter
Political and Religious Corruption
The chapter depicts the intertwining of religious fervor and political maneuvering, as the Piagnoni's triumph and the Medicean reaction create a tense atmosphere in Florence.
Knowledge and Erudition
The burning of books like Ovid, Boccaccio, and Petrarca in the Pyramid of Vanities highlights the conflict between intellectual culture and religious reform.
Female Agency and Marriage
Romola's internal conflict and her public stance against Piero's criticism reflect her struggle to navigate her own beliefs and duties within a male-dominated society.
Characters to notice
- Romola de' Bardi
Walks through the Piazza to see the Pyramid of Vanities, feeling detached from the public enthusiasm. She defends Savonarola's strictness to Piero, reflecting her own somber disposition and commitment to beneficent strength.
- Piero di Cosimo
Observes the pyramid from the Loggia, expressing bitter scorn for the Piagnoni's destruction of art and poetry. He challenges Romola about her reading of Boccaccio, revealing his disdain for the movement.
- Tito Melema
Mentioned as having reserved a window for Romola and Brigida to view the Carnival scene, though he is not present in the chapter.
- Monna Brigida
Romola's cousin, whom she is to fetch so they can watch the events from a reserved window.
- Girolamo Savonarola
Implied as the driving force behind the Piagnoni's reform of Carnival, having organized the boys to collect vanities and administer communion. His influence is central to the chapter's events.
Key passages
“The wintry days passed for Romola as the white ships pass one who is standing lonely on the shore—passing in silence and sameness, yet each bearing a hidden burden of coming change.”
Romola's days passed monotonously, but each one carried the potential for significant change, much like ships passing silently in the distance.
This simile captures Romola's sense of isolation and foreboding about the future.
“It’s enough to fetch a cudgel over the mountains to see painters, like Lorenzo di Credi and young Baccio there, helping to burn colour out of life in this fashion.”
It's infuriating to see painters like Lorenzo di Credi and young Baccio helping to destroy the vibrancy of life by burning these items.
Piero di Cosimo's criticism of the artists participating in the destruction of art.
“I cannot blame Fra Girolamo for teaching that we owe our time to something better.”
I don't fault Fra Girolamo for instructing that our time should be devoted to more worthwhile pursuits.
Romola's defense of Savonarola's moral teachings.