web analytics
Art Aryan beauty Classical sculpture

Aryan beauty

Photograph by Heinrich Hoffmann. Adolf Hitler introducing Myron’s Discobolus (Discus Thrower) during the opening of the Great German Art Exhibition of 1938 in Munich:

May none of you who visit this house fail to go to the Glyptothek, and may you then realise how wonderful man once was in his physical beauty and how we can only talk about progress when we not only achieve this beauty but, if possible, surpass it. But let the artists also judge how wonderful the eye and skill of that Greek Myron reveal themselves to us today, the Greek who created the work almost two and a half millennia ago, in front of whose Roman image we stand in deep admiration today. And may they all find from this a benchmark for the tasks and achievements of our own time. May they all strive for the beautiful and the sublime so that their people and art can also withstand the critical assessment of the millennia.(*)

Speech by Hitler on July 10, 1938 at the opening of the Great German Art Exhibition in Munich, House of German Art, published in Völkischer Observer on 11 July 1938.

Few things bother me more in today’s racial right than the lack of these panegyrics to the physique of Aryans (‘…and how we can only talk about progress when we not only achieve this beauty but, if possible, surpass it’ —my emphasis, remember my crush on Mayfield Parrish’s painting!).

The Greco-Romans knew the metaphysics of the Aryan body perfectly well. Most Christians and neo-Christians today have forgotten it. Let us never forget that the first thing the Judeo-Christians did when conquering the Roman Empire was to destroy the statuary. How many better sculptures than the discus thrower were lost for eternity because of Christian takeover of the Empire?

To ignore these facts is to be a historical fool.


(*) Mögen Sie alle, die Sie dieses Haus besuchen, nicht versäumen, in die Glyptothek zu gehen, und mögen Sie dann erkennen, wie herrlich schon einst der Mensch in seiner körperlichen Schönheit war und wie wir von Fortschritten nur dann reden dürfen, wenn wir diese Schönheit nicht nur erreichen, sondern wenn möglich noch übertreffen. Mögen aber auch die Künstler daran ermessen, wie wunderbar sich das Auge und das Können jenes Griechen Myron uns heute offenbaren, jenes Griechen, der vor fast 2 1/2 Jahrtausenden das Werk schuf, vor dessen römischen Abbild wir heute in tiefer Bewunderung stehen.

Art Transvaluation of all values

On John Milton

This entry should be understood based on what, in Daybreak, I said about Johann Sebastian Bach: that, while I am capable of appreciating the art of the father of classical music in recent centuries, a priest of the sacred words repudiates religious works such as his St Matthew Passion.

Octavio Paz used to say that Dante was the poet of the West par excellence. That’s true only if we refer to Western Christian Civilisation, but not to European Civilisation in general. The matrix created by Christianity so permeated the soul of the common Westerner that even a non-Christian like Paz was able to say what he said about Dante.

I repudiate Dante for the same reason I repudiate Bach: his art is Christian propaganda. And the same can be said of cathedrals, despite their beauty. And the same can be said of the Dante for the English, John Milton. Once one breaks with the paradigm of the day everything seems retarded, and even iniquitous to the mental health of the Aryan man.

Milton’s parents intended him for the church and the young poet grew up in a very puritanical environment. Milton was twenty-one when he created his first masterpiece, an ode to the nativity of Christ. He later rebelled against ideas of free will and predestination, which is why some consider Milton, the contemporary of Hobbes and Kepler, a Renaissance man. I find that claim grotesque (see what I say about Erasmus and the real Renaissance in Daybreak).

Milton travelled to Italy and visited Galileo when the latter was an old man and a prisoner of the Inquisition. Looking through the telescope, young Milton saw for the first time the new conception of space (in the medieval worldview the Moon was believed to be immaculate, incapable of scarring). That did him no good, since years later, in his masterpiece, although he paid homage to his experience with Galileo, Milton was always a slave to his parental introjects by making Satan perform a terrible and daring flight through the cosmos, from the lavas of hell to the new world created by the God of the Jews for Man. In other words, it is the structure of the inner self—how it had been programmed from childhood—that counts, not the facts of the empirical world, pace Galileo. Milton never left the matrix of his time.

In 1649 Charles I of England was beheaded and Milton became the point man for the new regime of Cromwell, who brought the Jews back to the island. But Milton found himself in trouble after the fall of Cromwell, when his body was exhumed and hanged for public shame. To make matters worse, in 1665 he fled London because of the plague, and the great fire of 1666 destroyed the house where his parents had instilled Christian Puritanism in him: his only important property. But Milton had already amalgamated the religious parental introject with his mind.

Twice widowed, after half a century of existence in this world Milton was lucky enough to marry a woman of twenty-four. Returning to London, he published his great poem in 1667 (Paradise Lost is a complete cosmological system!). Two years later, that first edition of thirteen hundred copies was out of print.

Milton, now blind, forced his daughters, Mary and Deborah, to read books to him and dictated his verses to them. The two girls were condemned to a test of patience as they read to their father in foreign languages they didn’t understand. In recent posts, I linked to videos that explain the narcissistic personality. Milton was one of them, and he considered his daughters, to whom he had given biblical names, tools of the trade.

Milton’s masterpiece, his epic poem, Paradise Lost written in blank verse, influenced the generation of English Romantics. William Blake, poet and painter, is considered the most inspired and congenial of Milton’s illustrators. He has a famous drawing in which God the Father embraces God the Son, who has offered himself for Redemption.

If any of my readers did a close reading of my Day of Wrath, he would recall that in the Mesoamerican pantheon, the parent Gods reward the Children Gods who sacrificed themselves by throwing themselves on the stake to become the Sun and the Moon. In that book, my analysis was that the opposite was Zeus, who, instead of submitting to the will of primitive gods (like the Christian god and the Mesoamerican gods), rebelled against the tyrant father, Cronus. If there is one thing that the intellectual sympathisers of American racialism still don’t understand, it is that psychohistorically the Jewish deity represented a regression from the level to which the Aryan had already reached in the Greco-Roman world.

Some notable apostates from Christianity realised this to some extent. In his Candide for example, Voltaire alludes to Milton as a ‘barbarian’, and Ezra Pound branded Paradise Lost as ‘asinine’ sanctimony and beastly Hebraism. I would go further.

In The Fair Race we can read that, if the Aryan is saved from extinction, in the new ecclesias where values are transvalued, young Aryans will be taught Indo-European culture. This obviously excludes the classics of Western Christian Civilisation. The poems of Dante and Milton ultimately reinforce the churches: the opposite of the Indo-European ecclesia that Julian the Apostate, and Hitler, wanted to restore. In the future Aryan state Christian propaganda should be suspended regardless of its aesthetic value.

Art Film

The remaining 42

I have just modified the hatnote of the 50 films I recommended not to be bored at home when the COVID-19 epidemic started because I will no longer review those films individually.

While it is true that those films made a big impression on me as a child and young man, once I woke up to the real world, in the sense of stepping out of the System’s matrix that controls us, most of those films lost their original meaning. I prefer to continue reviewing Brendan Simms’ book about Uncle Adolf insofar as, now free from the matrix that controls the white man, I feel a moral responsibility to convey who he was under a completely different narrative from that of the ubiquitous System (a narrative that includes Simms’ POV). Nevertheless, I would like, in a single entry, to say what I think roughly about the remaining 42 films that I won’t review individually, as I did with the first eight on the list.

First of all, I have already said something about Shane, #9 on the list. (Incidentally, when the month before my dad died, I showed him the DVDs of the films we had at home to see which one my ailing father wanted to see, he chose Shane.)

About other films on my list from the 1950s, ten years ago I already said something about Ben-Hur and I don’t have much to add. The two movies that the Swede Ingmar Bergman filmed in his country the year before I was born are watchable, especially The Seventh Seal. Although Wild Strawberries is the only one, along with A.I., that made me cry, I would have to explain why I projected myself into it, and that would be getting deep into my biography, which I won’t do in this entry. (By the way, when I saw Wild Strawberries on the big screen I met, on the way out, my first cousin Octavio Augusto whom I said a few years ago he had just killed his daughter and then hanged himself.)

I already said something about Forbidden Planet in 2012 in the context of some paragraphs by the Canadian Sebastian Ronin that are worth re-reading. Of Journey to the Center of the Earth, I had already said something in 2011 (incidentally, it’s worth watching the clip of the film that I uploaded on YouTube, embedded in that post).

The other film from the 1950s, Lust for Life, I haven’t written anything about: the life of Vincent Van Gogh. Given that I have several books—huge books, by the way: those deluxe ones that seem to take up an entire table—on Vincent’s paintings, and that as a small child I tried, modestly, to copy his paintings with my watercolours, his life has a special significance.

This film was shot when the Aryans weren’t yet betraying themselves as nefariously as they do today. For those who still appreciate 19th-century Europe, it is worth seeing this novel-based interpretation of Vincent’s life. And the same can be said of Sleeping Beauty and The Time Machine: once upon a time there was an optimistic ethos about the Aryan race, with very blonde and extremely beautiful women indeed: films that one could even play to children being educated in NS.

So much for the films of the 1950s. As far as the films on my list from the 1960s are concerned, I have to say that 2001: A Space Odyssey is my favourite film, and I can conceivably write a review in the future about the film that has influenced my life the most. As for the others from that decade, I’ve already commented here and there but unlike the previous ones, I won’t link to my posts. And I can say the same about the films on my list from the seventies, except Death in Venice of which I’ll say something.

As for the only film on my list from the 1980s, Fanny & Alexander, I already said what I had to say in my entry on the 50 films; and as for my recommendations of films from the 1990s, Sense and Sensibility, and Pride & Prejudice—an English TV series, although here we could also include the 2005 film—, I already said what I had to say in Daybreak (page 42) and On Beth’s Cute Tits (pages 134-135). It’s precisely in this context that Death in Venice could be understood, albeit in the sense of purely platonic admiration that is in line with what I wrote in Daybreak (pages 163-164).

As far as the films of our century from my list of 50, why A.I. caught my attention so much can be guessed from what I say in Day of Wrath (pages 32ff) in the context of the bonding or imprint we all have with our abusive parents; and about LOTR I already said something here.

If a visitor is curious about the details of how any film on my list affected me (or another film that doesn’t appear on my list, as long as I have seen it) I’m willing to answer any questions.

Art Film


As far as the Seventh Art is concerned, my life is divided into two great crises.

The first occurred in the early 1970s. As I recounted in ‘Beneath Ridley Scott’s Planet’, as a child I realised that the film industry didn’t always coincide with art, but could betray it badly.

The second crisis occurred more recently when I realised that even artistic films that are not solely driven by economic interests, but where the creator may be a genuine artist, often contain bad messages for the 14 words (as I showed this Monday with my brief review of The Godfather).

So today’s mature César not only demands of cinema that it be genuine Seventh Art. Even more important is that the film industry doesn’t betray the sacred words (and nowadays almost all of the industry betrays it).

This day I will start my series of fifty movie reviews with Frankenstein (1931 film): the second one to appear in my entry ‘50 films during the quarantine’.

It is important to bear in mind when reading my movie reviews that my confessed crisis in ‘Beneath Ridley Scott’s Planet’ represented an early awakening to the colossal crap that Hollywood makes just for profit, without the slightest concern for true art. From this point of view, when I saw on YouTube the black-and-white film of the 1931 horror movie produced by Universal Pictures and directed by James Whale—the adaptation of Mary Shelley’s novel, starring Boris Karloff and Colin Clive—I was very impressed by its artistic value.

The first thing that came to my mind was that it was unbelievable that, in the consumer society where I live, I had to watch this classic on YouTube because I had never seen it advertised for theatres, not even in art cinemas! I was also struck by the fact that the colour films about Frankenstein that can now be seen on TV lack artistic value when compared to this old black-and-white film.

Of course, both Shelley’s novel and the 1931 adaptation don’t promote our sacred words, so I won’t include it in a new list of my National Socialist must-see films. But at least, from an artistic point of view, it passes the test of my tastes: something that cannot be said of the sequels, remakes or parodies that have been made since that year to date.

Art Savitri Devi Souvenirs et réflexions d'une aryenne (book)


‘Above all, he [Hitler] lived for all the satisfactions that art in all its forms could give him; art that he placed so high that he didn’t admit that a man who was insensitive to it should ever take over the leadership of a National Socialist state.’ —Savitri Devi

2001: A Space Odyssey (movie) Art Film

60K words article!

‘Jews control Hollywood and make movies for themselves that the dumb white gentiles believe to be about them.’

You may read this article, nay a mini-book, on The Unz Review here.

In the comments section we learn that the mini-book is full of typos, and there’s another comment I agree about ‘the late great Stanley Kubrick.’ He wrote: ‘2001 a Space Odyssey ASO is the greatest work of art ever made by a human being.’ But what does ‘ASO’ stand for? (remember, I am not a native English speaker).

Art Civilisation (TV series) French Revolution Kenneth Clark Liberalism Napoleon

The fallacies of hope

The best way to realise that it is we rather than the Jews who are responsible for white decline is simply to listen, very carefully, to the great communicators of Western culture.

In my post on Tuesday, in which I reproduced an angel painted by da Vinci, I alluded to Kenneth Clark: who from the time we had a black-and-white television captivated us with his Civilisation series. These days I re-watched ‘The Fallacies of Hope’ while reading the corresponding chapter in the text version of Civilisation. In the TV version, we heard that Clark chose a few bars of the Funeral March from Beethoven’s Eroica to illustrate his disenchantment with Napoleon.

It’s a pity that what Clark told us in the TV version about Napoleon’s secret police doesn’t appear in the book. Why did he leave it out? The audio-visual version is supposed to condense what is written, not vice versa; and the dungeons of Napoleon, who crowned the French Revolution, are not even pictured in the text.

‘The Fallacies of Hope’ is a phrase from the painter Turner, and in the episode referred to we see allusions to various years: France 1830, Spain 1848, Germany 1848, France 1848, Hungary 1848, Italy 1861, France 1871—all these were the naive daughters of the monster that came later—Russia 1917, Spain 1936 (remember what I recently said about Franco), Hungary 1956, France 1968 and Czechoslovakia 1968.

Clark then complains about prisons for political prisoners in Nazi Germany, Franco’s Spain (who was a dictator when the BBC filmed Civilisation) and Hungary, but says not a word about the millions of Russians imprisoned by Lenin and Stalin. Why did Clark omit the most conspicuous?

Civilisation, about which in 2012 I had written several reviews on this site, can serve wonderfully to show how the distorted view of today’s West was generated: liberalism as a product of Christianity (Clark considered the Church of England too secular for his taste). A close reading of Civilisation, as well as careful viewing of the television version, is an excellent passport to penetrate the Christian-liberal zeitgeist.

Here is what Clark, who had a very deep insight into Western art, didn’t know. Since he speaks of the Church as the cornerstone of our civilisation (his series begins with Greek art and continues through the Middle Ages), it is clear that he knew nothing of what we have been translating from Karlheinz Deschner’s book (Clark died three years before the first volume, in German, of Deschner’s history of Christianity came out). Also, in 1969 Civilisation was released in the UK and the US, a few years before The Gulag Archipelago was published. As we have been saying on this site, to be ignorant of the history of Christianity, or communism, is tantamount to being a historical fool. Since I was brought up as a child in the arts that Clark mastered so well, it is easy for me to understand him. But art alone is insufficient to understand what happened: we need to know the dissenting voices.

Still, as I said, Civilisation, in its two versions, is a magnificent gateway to understanding how liberalism is shaped by a Christian scholar. Despite the title of the penultimate episode of Civilisation, ‘The Fallacies of Hope’, Lord Clark never lost hope in the liberal point of view. That same episode, in its television version, shows us images of liberated students in post-’68 Paris, and Clark puts his faith in their struggles never suspecting that, once grown up, those same Sorbonne students would open the gates to mass migration.

But what Clark got absolutely right is that, to understand a culture, you have to understand its art. More recently Tom Sunic has said things in line with this premise, and I have refracted it here by mentioning the novelistic art of some nineteenth-century white authors, such as the European author of Ivanhoe (a pro-Jewish novel), the female author of Uncle Tom’s Cabin (a pro-black, anti-racist novel) and Ben-Hur (authored by a pro-Jewish American colonel): great bestsellers of their time.

Rather than the misguided approach of so-called social sciences, to penetrate the deep secrets of art is to understand our soul.

Art Miscellany

Dear Cesar,

Listening to the Waves by Vig

Let me be clear, I don’t need any advertising or publishing in WDH of the image I sent you. I am a Dutch sculptor and painter and recently sold a number of my works to private people in Germany whom I consider to be part of the true Germans, the German resistance so to say.

But, if you like it you are free to use the image. When you think it useful and appropriate you may use the image with the only condition that you put my name under it.

The reason I sent it to you is that reading your before last post on WDH I understood that you were struggling to give a verbal title to your trilogy.

Having read your posts for a few years now and then, I perceive you as an exceptional clear and honest mind. Also you are very sensitive to Aryan art, all together making your WHD to an exceptional platform. Your consistent analysis of the whole issue of Christianity and Judaism in our history is so spot on that I have only praise for it.

But most essentially I recognize the depth of your perception by way of the openness that you have displayed about the story of your childhood. Just reading your last post with translations of your trilogy concerning your understanding of your parents behavior and their psychological wounds the phrases like “killing your inner father and mother” come as a liberating truth because that is exactly what I went through. Sorry I don’t read Spanish but your English is clear enough.

That is why I said that your path has led you to a recognition of true spiritual significance. I had to get rid of my parents’ minds by going to India and practice Tibetan tantric techniques to cleanse my whole being of the influence of their emotional wounds, which basically is a being stuck in adolescence (12 to 13 years of age when sexuality sets in). That is why your insights have vast extents of meaning. “The West is sexually diseased”. Humanity is a nice idea, it is time to really put it into practice.

At present there is not much of a recognition publicly, but to my perception there is at least in Europe gathering an undercurrent of resistance which should not be underestimated.

The reason I responded to you with an image is that I think we have to support each other when recognition happens. I my case I can do that better with images because I am a visual thinker. Another thing is that although I am academically trained I see verbal expressions as necessary but only superficially penetrating peoples’ minds. The reality is that half of the mind is rational and verbal and the other half is visual and intuitive. That means an unbalance in using those capacities is reducing the effectiveness of communication.

I often wonder why you have so much energy responding to comments while it is often the question what is really the effect of it. For example, it is clear that the “Christian cucks” are souls that are emotionally false, very false, to the core even. The smell of it is intolerable. They will bend every word into a meaning suitable for them. So changing to Gestalt is more effective. Art could do the job.

So the whole thing of humanity is altogether of a different dimension. This whole modern indignation about the crimes of Nazi Germany is so thoroughly false and hollow seeing the present day practices of military powers like USA and UK and Israel, that one wonders how far we have sunk spiritually.

Your mention of a whole fresh start for humanity is a recognition of our spiritual nature. As far as the details of that is concerned the wisest of us will admit that it will not be a path of roses.

Hail to you,


Art Darkening Age: The Christian Destruction of the Classical World (book) Destruction of Greco-Roman world Evil

Darkening Age, 16

In chapter eight of The Darkening Age: The Christian Destruction of the Classical World, Catherine Nixey wrote:
People built themselves houses from the stones of the demolished temples. Look closely at the buildings in the east of the Roman Empire and you can see the remains of the classical tradition in the new Christian architecture: a pair of cut-off legs here; the top of a handsome Grecian column there.

One law announced that the stones from demolished temples should be used to repair roads, bridges and aqueducts. In Constantinople, a former temple of Aphrodite was used to store a bureaucrat’s chariots. Christian writers revelled in such little humiliations. As one exulted, ‘your statues, your busts, the instruments of your cult have all been overturned—they lie on the ground and everyone laughs at your deceptions’.

Art Darkening Age: The Christian Destruction of the Classical World (book) Destruction of Greco-Roman world Evil

Darkening Age, 15

In chapter eight of The Darkening Age: The Christian Destruction of the Classical World, Catherine Nixey wrote:
Statues, the very seat of the demons themselves, suffered some of the most vicious attacks. It was not enough merely to take a statue down; the demon within it had to be humiliated, disgraced, tortured, dismembered and thus neutralized.

A Jewish tractate known as the Avodah Zarah provided detailed instructions on how to properly mistreat a statue. One can desecrate a statue, it advised, by ‘cutting off the tip of its ear or nose or finger, by battering it—even although its bulk be not diminished—it is desecrated’. Merely taking the statue down, or spitting at it, or dragging it about, or throwing dirt upon it, was not, the treatise warned, sufficient—though the resourceful Christian might indulge in all of these as an added humiliation to the demon within.

Sometimes, as was the case with the bust of Aphrodite in Athens, the statues appear to have been ‘baptized’, with deep crosses gouged on their foreheads. If this was a ‘baptism’ then it may have helped not only to neutralize the devil within, but also to vanquish any more personal demons that could arise when looking at such beautiful naked figures. A naked statue of Aphrodite was, wrote one Christian historian in disgust, ‘more shameless than that of any prostitute standing in front of a brothel’—and, like a prostitute, Aphrodite and her plump bottom and naked breasts might incite the demon of lust in the viewer.

Far less easy to feel desire for a statue who has had a cross gouged in her head, her eyes blinded and her nose sliced from her face. Erotically appealing statues suffered more than chastely clothed ones. We can still see the consequences of this rhetoric. Today, a once-handsome Apollo missing a nose stands in this museum; a statue of Venus that stood in a bathhouse has had her nipples and mons pubis chiselled away; a statue of Dionysus has had his nose mutilated and his genitalia removed.


______ 卐 ______


Editor’s note:

“A Jewish tractate known as the Avodah Zarah provided detailed instructions on how to…”

Stefan Molyneaux has not responded to JFG’s challenge about his Jewish heritage. That’s easy to see. But what about my own challenge to pro-white Americans, to explain how can they reconcile their Aryan activism with their worship of the god of the Jews?

My guess is that neither Molyneaux nor them (e.g., Wallace) will ever address the POV of this site.