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Ancient Rome Architecture

Temples!

Reconstructed Temple of the Nymphs at Vindolanda. Just south of Hadrian’s Wall.

Editor’s Note: Below is an excerpt from The Fair Race’s Darkest Hour. Even in a world as extremely anti-Aryan as the present one, attempting this sort of thing probably wouldn’t land us in jail, even in Europe. But what wealthy sponsor could finance such a project with a temple like the one seen above?
 

______ 卐 ______

 
But we do not need a new religion, only to be aware of our pre-Christian cultures. We must recover such cultures to educate our children according to the varied heritage that these cultures represent. I think of the Edda, of the Mabinogion; of Homer and Virgil—not to mention our tragedians, our poets, our philosophers… We must extract that immensely rich heritage and moral maxims.

We also need temples, enclosures for re-connection as I call them. An ever-living fire in these areas will suffice. We need places where we can gather and remember our stories: the readings of texts, commentaries, discussion panels and more. Something collective and social—religious and cultural centers where our people may have psychological or spiritual support, or get truthful information about our ancestors, or the incidents of our history.

We need dividing the year with special celebrations related to happy or tragic milestones of our past: the Christianization and the Islamization of our peoples, for example; with our own calendars of saints’ days (our heroes and those most representative). We need to retrieve the Greek, Roman, Celt, German and other first names… That is, to do what we could not do: having our own history because our history was usurped by the Christian clergy.

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Architecture Claude le Lorrain

Stourhead

In my Thursday post on Sense & Sensibility I said that Aryan beauty was flaunted in the temples and the streets of the Greco-Roman world. I forgot to mention that some Europeans in the post-Renaissance centuries also honoured Aryan beauty in non-commercial settings, as we see in this scene of beautiful sculptures of human nudes in the 2005 adaptation of Pride & Prejudice. Four years ago I wrote:

It is known that the wealthy Englishmen tried to bring the beautiful architecture of some paintings of Claude Lorrain (paintings that I contemplated during my last visit to London’s museums) to the countryside. The building that served as a refuge from the copious rain for the future couple, when Mr Darcy proposes to Elizabeth [clip here], is the perfect framework for the fourteen words.

Henry Hoare (1705-1785), banker and garden owner-designer, saw the paintings of Claude Lorrain (1600-1682) and was so enchanted by them that he commissioned architect Colen Campbell to design the garden we enjoyed in the film. Inside it we see the Temple of Apollo, where the scene where Mr Darcy proposes to Liza was filmed: a temple we see in more than one of Lorrain’s paintings.

Those who have visited Hoare’s garden have commented that, when you walk through Stourhead, you get the feeling that Jane Austen could walk out at any moment, or that you yourself could be portrayed in that bucolic painting you see around you. (I felt something similar a decade ago in Perth, Scotland, when I crossed a bridge and there was no one around me!)

These Stourhead gardens and temples are one of the places to visit when you are in the nearby Cotswolds. We must thank Lorrain, Hoare and his architect for being inspired by pagan architecture.

It is most unfortunate that, unlike the adolescent Adolf Hitler, those who now belong to the racial right fail to make deep inner contact with the architecture of the classical and Italian world that led the lad Hitler to activate, in his psyche, the archetype of our true Gods.

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Architecture

European beauty

Dedicated to Helios, the Roman god of the sun, the Garni temple was built by the Armenian King Tiridates I in the 1st century c.e.

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Architecture

Euroepan beauty

Dublin, Ireland

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Architecture

European beauty

Franciscan monastery on the tiny island of Visovac, Croatia

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Architecture

European beauty

Castle of Trenčín on top of a steep rock in Slovakia.

Categories
Architecture

European beauty

Categories
Architecture

European beauty

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Architecture Degenerate art Feminism Stanley Kubrick

The broken man

‘The Broken Man’ is the seventh episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 57th overall. Here the series exacerbates its previous feminism to surreal levels. It is not enough that the show introduces a woman as the feudal lady of the beautiful medieval castle that we see above. She is a ten-year-old girl. And worst of all, the fans loved this new character!

Some Americans wondered yesterday how the judicial system gave in to the BLM threat by condemning a white cop in the case of the black man who died on the asphalt. One clue to how the West got to this point is simply to notice what TV fans like: a world upside down. In the episode this brat, Lady Mormont, speaks authoritatively as a feudal lord, and initially disparages Jon Snow and Sansa Stark who ask for help in their campaign against the Boltons.

In Volantis we see Yara and another woman making out publicly. But Yara is not a lesbian in Martin’s novel. This is another excess of the scriptwriters to demoralise the white viewer. (Yara also harangs her ‘little brother’, the phrase she uses, so that he stops being a broken man.)

The penultimate scene is even more surreal than that of the ten-year-old feudal lady. Arya, seen here in Braavos with the background of a kind of Colossus of Rhodes, is stabbed several times in the stomach by the Waif and she survives the attack! All of these images come from this episode, including Blackfish’s Castle below, and above with Jaime Lannister on the bridge.

The trick used by the creators of Game of Thrones is to mix the beauty of Aryan architecture with poisonous messages for the white soul. It reminds me of Kubrick’s virtuosity in filming 2001: A Space Odyssey so that his next movie, A Clockwork Orange, was so poisonous that it was banned in England for several decades.

Categories
Ancient Rome Architecture Aryan beauty Classical sculpture Racial right

I’m still alone

One of the things that strike me when I say that I am speaking to myself is that some respond that they are listening to me, or that they have learned about anti-Christian matters thanks to this site. The reality is that that would be only one aspect of being accompanied.

A few days ago I quoted once again what Nietzsche said of Luther. This monk, instead of kneeling in Rome grateful for the transvaluation of visual values that had started at the very headquarters of Christendom, none of that impacted him, but returned to his dark Germany to write religious texts.

White nationalism is a basically American phenomenon. All major websites are American, not European. Europe died after World War II when two Judaised nations to the core annihilated it. But we should not blame Roosevelt’s US and Stalin’s SU one hundred percent, as both socio-political experiments were two branches that emerged from the same egalitarian baobab that began to engulf the West right after the French Revolution.

White nationalism being basically an American phenomenon, a descendant of the Calvinist Puritanism of the first colonists, is blind to the values that the Renaissance advocated: the plastic and visual arts. If we remember the texts of Evropa Soberana, a European from the westernmost part of Europe, for the Greeks and the Romans the beauty of the statuary and the temples, more than the texts—not all of them could read—was central. Remember what Greg Johnson said in the comments section of The Occidental Observer in 2012: ‘We need a regime that (1) bans pornography and (2) erects statues of gorgeous naked nymphs and athletes in every public square and crossroads’.

The texts of white nationalism, including the ones Johnson posts on his webzine, bore me (worst of all is the very verbose Unz Review whose admin is a Jew). They are a direct result of those who conquered the American continent, alienated in the Old Testament ethos and consequently inspired by Judaic legalisms and moralising rather than by the visual arts. Unlike these Judaised whites, what interests me is the beauty of nymphs, sylphs, and dryads (and it doesn’t bother me in the least that some pederasts include androgynous ephebes in the list).

Instead, the pundits of white nationalism, even those who have read Nietzsche, as little and prudish Luthers are blind not only to the beauty of the Aryan body, insofar their webzines don’t dream about it in every crossroad, but blind also about the squares that should inspire them to create the ethnostate. Remember ‘What Did Ancient Rome Look Like?’ that I embedded not long ago!

If I am alone it is because I have not been understood when I speak of the transvaluation. Perhaps many believe that I am still referring to texts or cold reason, when what I want is an ethnostate whose architecture resembles the Rome that appears in the aforementioned video.

The anti-white climate of our time is exactly the reverse of the dream of putting gorgeous naked nymphs and ephebes in every public square and crossroads. If contemporary racialists had already transvalued their values, instead of verbose texts that few read they would show in their webzines that beauty.

This is one of the reasons why I am not in the least concerned that the insane American negrolatres, and the blacks themselves, are smashing white male statues in America. All the statues knocked down by BLM and the antifa have been statues of clothed Christians: statues that had to be thrown away anyway after the Nietzschean revolution. What we need throughout the re-conquered West are thousands of completely naked pagan statues showing Aryan beauty in their full frontal glory.

To save the race, values must be revalued, and that means understanding things as inconceivable to American racists as what I said to European Vig these days in the context of how music would sound like if Christianity had not murdered our souls.