Shocking moment Sardinian politician trips and falls head first through priceless stained glass window
This is the shocking moment a Sardinian politician trips and dives through a priceless stained glass window in Rome – shattering it into pieces.
Footage shows Emanuele Cani walking down the stairs to attend a reception at the Ministry of Enterprises and Made in Italy before losing his footing.
Cani desperately tries to regain his balance, but is unsuccessful and hurtles towards the ‘Labour Charter,’ a work by the futurist artist Mario Sironi.
His head crashes violently into the stained-glass window, which immediately collapses upon impact.
Guests at the reception can be seen chatting casually before suddenly whipping around toward the window in shock, apparently reacting to the loud crash.
Fortunately, Cani did not suffer physical injuries.
The councillor expressed his ‘deep regret for the damage’ caused by the accident on November 12.
Footage shows Emanuele Cani walking down the stairs to attend a reception at The Ministry of Enterprises and Made in Italy before losing his footing
Cani desperately tries to regain his balance, but is unsuccessful and hurtles towards the ‘Labour Charter,’ a work by the futurist artist Mario Sironi
His head crashes violently into the stained-glass window, which immediately collapses upon impact
But, the destroyed stained-glass window was more than just an architectural feature; it was an irreplaceable artwork installed in 1932 when the building housed the Fascist Ministry of Corporations.
The work, made of stained glass, depicted figures engaged in various crafts and arts, a testament to the iconographic language of the period.
Mario Sironi was a leading Italian modernist artist whose work became widely recognised in the early 20th century.
Starting out with the Futurists, he later developed a heavier, more dramatic style that made him a major figure in Italy’s public art scene.
He created murals, mosaics and decorative pieces for government buildings across the country, including the newly destroyed ‘Labour Charter’, which was one of his most famous works.
Although Sironi’s reputation was later clouded by his support for Mussolini’s regime, his work is still seen as an important – and sometimes controversial – part of Italy’s artistic history.
The destroyed stained-glass window (pictured) was more than just an architectural feature, it was an irreplaceable art work installed in 1932 when the building housed the Fascist Ministry of Corporations
Fortunately, Cani (pictured) did not suffer physical injuries but is bound to have a bruised ego after the embarrassing blunder
Sironi created murals, mosaics and decorative pieces for government buildings across the country, including the newly destroyed ‘Labour Charter’, which was one of his most famous works. Pictured: The Labour Charter before it was destroyed
The ‘Labour Charter’ is not the only valuable artwork in Italy to be destroyed by an embarrassing mishap recently.
In June a careless tourist sparked fury after he damaged a priceless 18th century painting while trying to take a selfie.
Mario Sironi (1885–1961) was an influential Italian painter, sculptor and graphic artist known for his bold, brooding style and early involvement in the Futurist movement.
Born in Sardinia and raised in Rome, he became a key figure in Italy’s modernist art scene.
After World War I, he moved away from Futurism and developed a darker, monumental aesthetic.
He went on to create major public artworks across Italy, including murals, mosaics and architectural pieces.
Sironi was a prominent figure in the 1920s and 30s push for grand public art, producing works that often featured workers, machinery and stark urban landscapes.
His ‘Labour Charter’ stained-glass window – shattered in the accident – was one of his notable creations.
Although his reputation was complicated by his support for Mussolini’s regime, his artistic legacy has seen renewed interest, with museums highlighting his technical skill and lasting influence on Italian modernism.
The unnamed culprit had been enjoying a visit to the Uffizi Gallery in Florence when his day out took a turn for the worse.
The man decided to try and capture a picture of himself mimicking the pose of Ferdinando de’ Medici, Grand Prince of Tuscany, in a portrait by Anton Domenico Gabbiani.
But the visitor’s bright idea soon became an embarrassing blunder when he lost his balance.
The man stumbled backward, falling against the portrait and leaving a hole at the level of the prince’s right boot.
Museum staff were quick to identify the man and reported him to the police for causing the damage.
The painting was removed for repair, with experts concluding that the damage was relatively minor.
The incident occurred in the ground-floor rooms hosting the Florence and Europe: Arts of the 18th Century at the Uffizi exhibition, the first under the gallery’s new director, Simone Verde.
A trade union representing museum workers said the tourist had tripped on a low platform intended to keep visitors at an appropriate distance from the paintings.
It had previously raised concerns to the museum authorities after another visitor had tripped but without causing any damage.
‘Visitors are looking at the paintings, not at the ground. Those platforms are unsuitable and too dark,’ said Silvia Barlacchi, a staff representative.
Verde said: ‘The problem of visitors coming to museums to make memes or take selfies for social media is rampant: we will set very precise limits, preventing behaviour that is not compatible with the sense of our institutions and respect for cultural heritage.
‘The tourist, who was immediately identified, will be prosecuted.’
It came after earlier that month, a tourist was caught on CCTV sitting on a crystal-studded ‘Van Gogh’ chair exhibit in an Italian art gallery – before it buckled under him.
The chair, which is named after the famous Dutch painter, is housed in the Maffei Palace, Verona, and is covered with hundreds of Swarovski crystals.
It was designed by Italian artist Nicola Bolla and is described by local media as being ‘extremely fragile and delicate’.
