Trump’s Gilded Ballroom and the Fall of the American Republic
Tackiness and tyranny go hand in hand
I assume that everyone reading this newsletter knows that Donald Trump is in the process of destroying a large part of the White House so he can construct a 90,000 square foot gold-encrusted ballroom. And this is being done without any historical or architectural review, treating a national treasure that belongs to the people as if it were his own personal property. In true Trumpian style, this act of vandalism is being paid for by large corporate donors — mostly tech and crypto companies — seeking to buy Trump’s favor. I am sure there will be a Trump meme-coin dispenser installed on every table.
But let me digress momentarily from the norm-breaking, the outrageous sense of entitlement, and the implicit corruption to talk about Trump’s execrable taste, as shown by the renderings of the inside of the ballroom. Yes, taste.
Why, you might ask, at a moment of national crisis am I writing about Trump’s bad taste?
Masked government agents are snatching people off the street. The National Guard has been sent into major cities on the obviously false pretext that these cities are in chaos. The U.S. military is essentially murdering people on the high seas. Huge tariffs are, in addition to their economic costs, undermining a system of alliances former presidents spent generations building. Green energy is being eviscerated, vindictive prosecutions are the norm, and many millions are on course to lose their health insurance. So why do I want to talk about Trump’s appalling design sense?
But these aren’t separate issues, because tackiness and tyranny go hand in hand. Yes, Trump has terrible taste and probably would even if he didn’t have power and, thanks to that power, wealth. But the grotesqueness of his White House renovations is structural as well as personal. For the excess and ugliness serve a political purpose: to humiliate and intimidate. The tawdry grandiosity serves not only to glorify Trump’s fragile ego, but also to send the message that resistance is futile.
I’ve read uncountably many articles about Trump and his motivations, and I continue to think that one of the most insightful is a piece by Peter York, published early in Trump’s first term, titled “ Trump’s Dictator Chic.” York is an authority on the design and décor choices of modern despots, from Saddam Hussein to Ferdinand Marcos to Nicolae Ceausescu. He noted that despite the vast differences in their cultural backgrounds, the palaces of despots all looked very similar: Gigantic rooms confected with massive amounts of gold, glass and marble, clearly in imitation of Versailles.
York was shown photos of a New York apartment, at first not knowing who owned it. His reaction:
I know Manhattan and its sophisticated style pretty well, and at first glance, you would think the place didn’t belong to an American but to a Russian oligarch, or possibly a Saudi prince with a second home in the United States. There were overscaled rooms, and obviously incorrect-looking historical detailing and proportions. The home had lots of gilded French furniture and the strange impersonal look of a hotel lobby, with chairs and sofas placed uncomfortably far from one another. There were masses of gold …
The apartment was, of course, Donald Trump’s. The purpose of all this excess wasn’t personal pleasure: dictators’ palaces generally look very uncomfortable. Instead, it was to project
a kind of power that bypasses all the boring checks and balances of collaboration and mutual responsibility and first-among-equals. It is about a single dominant personality.
So is it any surprise that Trump is turning the White House into Mar-a-Lago North?
This is all deeply alien to American tradition. Washington DC is a city full of grand monuments and impressive public buildings. Yet the style of these monuments and public buildings is generally one of restrained neoclassicism meant to evoke the Roman Republic – an ideal of a republic of equals reflected in law and norms as well as architecture. Anything approximating the Louis XIV style of Trump would have been considered monarchical and autocratic by the Founding Fathers.
So the ballroom is a sign, not just of Trump’s personal vulgarity, but of the collapse of small-r republican norms. Trump is turning the people’s house into a palace fit for a despot partly because that’s his taste, but also to show everyone that he can. L’etat, c’est moi.
One final thought: According to social media, many men are obsessed with the Roman Empire. I’m not one of them, partly because I’ve read Patricia Crone’s classic Pre-industrial Societies: Anatomy of the Pre-Modern World, so I know that even at the height of its glory the Roman Empire would have looked incredibly poor and shabby by 21st-century standards.
But I now find myself frequently thinking of how the Roman Republic degenerated into a dictatorship. For, in essence, Roman emperors were dictators, regardless of the fancy trimmings.
What happened? Modern historians of the Roman Republic and the Roman Empire mostly agree upon one explanation for the Republic’s collapse – namely that the enormous loot from Rome’s conquests created a class of incredibly wealthy oligarchs who were too wealthy and powerful to be constrained by republican norms, institutions and laws.
The modern parallels are obvious. Here’s a photo of Jeff Bezos’s yacht:
Source
But back to Trump’s demolition of the White House — because that’s what it is. This isn’t a remodeling or building an addition, it’s a teardown. It may seem like a trivial story, but it’s a highly visual metaphor for the way MAGA is tearing down almost everything good about our country. And that ballroom’s hideousness is an equally good metaphor for all the political ugliness that lies in our future.
MUSICAL CODA
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