‘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
‘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).
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.
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,
Vig.
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’.
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.
In chapter eight of The Darkening Age: The Christian Destruction of the Classical World, Catherine Nixey wrote:
Further south, the firebrand preacher John Chrysostom—John ‘Goldenmouth’—weighed in. This man was so charismatic that crowds of Christians would pack into Antioch’s Great Church to hear him speak, his eyes flashing, then leave as soon as he was finished, ‘as if’, he observed, with a distinct want of monkish humility, ‘I were a concert performance.’ Chrysostom was nothing if not zealous.
Hearing that Phoenicia was still ‘suffering from the madness of the demons’ rites’, he sent violent bands of monks, funded by the faithful women in his congregation, to destroy the shrines in the area. ‘Thus,’ concludes the historian Theodoret, ‘the remaining shrines of the demons were utterly destroyed.’ A papyrus fragment shows Bishop Theophilus standing triumphantly over an image of Serapis, Bible in hand, while on the right-hand side monks can be seen attacking the temple. St Benedict, St Martin, St John Chrysostom; the men leading these campaigns of violence were not embarrassing eccentrics but men at the very heart of the Church.
Augustine evidently assumed his congregants would be taking part in the violence—and implied that they were right to do so: throwing down temples, idols and groves was, he said, no less than ‘clear proof of our not honouring, but rather abhorring, these things’. Such destruction, he reminded his flock, was the express commandment of God. In AD 401, Augustine told Christians in Carthage to smash pagan objects because, he said, that was what God wanted and commanded. It has been said that sixty died in riots inflamed by this burst of oratorical fire. A little earlier a congregation of Augustine’s, eager to sack the temples of Carthage, had started reciting Psalm 83. ‘Let them be humiliated and be downcast forever,’ they chanted with grim significance. ‘Let them perish in disgrace.’
It is obvious that this violence was not only one’s Christian duty; it was also, for many; a thoroughly enjoyable way to spend an afternoon. Those carrying out the attacks sang as they smashed the ancient marble and roared with laughter as they destroyed statues. In Alexandria, ‘idolatrous’ images were taken from private houses and baths, then burned and mutilated in a jubilant public demonstration. Once the assault was complete, the Christians ‘all went off, praising God for the destruction of such error of demons and idolatry’.
Broken statues themselves were another cause for hilarity; their fragmented remains an occasion for ‘laughter and scorn’.
As the epigraph of ‘How to Destroy a Demon’, chapter eight of The Darkening Age: The Christian
Destruction of the Classical World, Catherine Nixey chose a passage from an hagiography of a so-called saint, The Life of Martin: ‘He completely demolished the temple belonging to the false religion and reduced all the altars and statues to dust’.
The pages of history might overlook this destruction, but stone is less forgetful. Go to Room 18 in the British Museum in London and you will find yourself in front of the Parthenon Marbles, taken from Greece by Lord Elgin in the nineteenth century.
The astonishingly lifelike statues are, today, in a sorry state: many are mutilated or missing limbs. This, it is often assumed, was the fault of Lord Elgin’s clumsy workmen or fighting during the Ottoman occupation. And indeed some of this was—but not all. Much was the work of zealous Christians who set about the temple with blunt instruments, attacking the ‘demonic’ gods, mutilating some of the finest statuary Greece had ever produced.
The East Pediment fared particularly badly. Hands, feet, even whole limbs have gone—almost certainly smashed off by Christians trying to incapacitate the demons within. The vast majority of the gods have been decapitated—again, almost certainly the work of Christians. The great central figures of the Pediment, that would have shown the birth of Athena, were the most sacred—and thus to the Christians the most demonic. They therefore suffered most: it is likely that they were pushed off the Pediment—and smashed on the ground below, their fragmented remains ground down and used for mortar for a Christian church.
The same tale is told by objects in museums and archaeological sites across the world. Near the Marbles in the same museum is a basalt bust of Germanicus. Two blows have hacked off his nose and a cross has been cut in his forehead. In Athens, a largerthan-life statue of Aphrodite has been disfigured by a crude cross carved on her brow; her eyes have been defaced and her nose is missing. In Cyrene, the eyes have been gouged out of a life-sized bust in a sanctuary of Demeter, and the nose removed; in Tuscany a slender statue of Bacchus has been decapitated.
In the Sparta Archaeological Museum, a colossal statue of the goddess Hera looks blindly out, her eyes disfigured by crosses. A beautiful statue of Apollo from Salamis has been castrated and then struck, hard, in the face, shearing off the god’s nose. Across his neck are scars indicating that Christians attempted to decapitate him but failed.
In Palmyra Museum there stood, at least until the city’s recent occupation by Islamic State, the mutilated and reconstructed figure of the once-great figure of Athena that had dominated a temple there. A huge dent in her once-handsome face was all that remained when her nose was smashed off. A recent book on the Christian destruction of statues focusing just on Egypt and the Near East runs to almost three hundred pages, dense with pictures of mutilation.
But while some evidence remains, much has gone entirely. The point of destruction is, after all, that it destroys. If effective, it more than merely defaces something. It obliterates all evidence that the object ever existed. We will never know quite how much was wiped out. Many statues were pulverized, shattered, scattered, burned and melted into absence. Tiny piles of charred ivory and gold are all that remain of some. Others were so well disposed of that they will probably not be found: they were thrown into rivers, sewers and wells, never to be seen again. The destruction of other sacred objects is, because of the nature of the object, all but impossible to detect.
The sacred groves of the old gods for example, those tranquil natural shrines like the one Pliny had so admired, were set about with axes and their ancient trees hacked down. Pictures, books, ribbons even, could be seen as the work of the devil and thus removed and destroyed. Certain sorts of musical instruments were censured and stopped: as one Christian preacher boasted; the Christians smashed the flutes of the ‘musicians of the demons’ to pieces. Some of the demolition, such as that of the temple of Serapis, was so terrible that several authors recorded it.
Other moments of vandalism were immortalized in glowing terms in Christian hagiographies. Though these are the exceptions. Far more violence was buried in silence.
In chapter seven of The Darkening Age: The Christian
Destruction of the Classical World, Catherine Nixey wrote:
Constantine… demanded that the statues be taken from the temples. Christian officials, so it was said, travelled the empire, ordering the priests of the old religion to bring their statues out of the temples. From the 330s onwards some of the most sacred objects in the empire started to be removed. It is hard, today, to understand the enormity of Constantine’s order. If Michelangelo’s Pietà were taken from the Vatican and sold, it would be considered a terrible act of cultural vandalism—but it wouldn’t be sacrilege as the statue is not in itself sacred. Statues in Roman temples were. To remove them was a gross violation, and Constantine knew it…
The possibility that Jesus would triumph over all other gods would, at the time, have seemed almost preposterous. Constantine was faced with an intransigent population who insisted on worshipping idols at the expense of the risen Lord. He realized that conversion would be more ‘easily accomplished if he could get them to despise their temples and the images contained therein’. And what better way to teach wayward pagans the vanity of their gods than by cracking open their statues and showing that they were, quite literally, empty? Moreover, a religious system in which sacrifice was central would struggle to survive if there was nothing to sacrifice to. There was good biblical precedent for his actions. In Deuteronomy, God had commanded that His chosen people should overthrow altars, burn sacred groves and hew down the graven images of the gods. If Constantine attacked the temples then he was not being a vandal. He was doing God’s good work.
And so it began. The great Roman and Greek temples were— or so Eusebius said—broken open and their statues brought out, then mutilated…
Not all the temple statues were melted down. The ‘tyrant’ Constantine also had an eye for art and many objects were shipped back as prize baubles for the emperor’s new city, Constantinople (Constantine, like Alexander the Great, was not one for self-effacement). The Pythian Apollo was put up as ‘a contemptible spectacle’ in one square; the sacred tripods of Delphi turned up in Constantinople’s hippodrome, while the Muses of Helicon found themselves relocated to Constantine’s palace. The capital looked wonderful. The temples looked—were—desecrated. As his biographer wrote with satisfaction, Constantine ‘confuted the superstitious error of the heathen in all sorts of ways’.
And yet despite the horror of what Constantine was asking his subjects to do there was little resistance…
Christianity could have been tolerant: it was not preordained that it would take this path. There were Christians who voiced hopes for tolerance, even ecumenicalism. But those hopes were dashed. For those who wish to be intolerant, monotheism provides very powerful weapons. There was ample biblical justification for the persecution of non-believers.
The Bible, as a generation of Christian authors declared, is very clear on the matter of idolatry. As the Christian author Firmicus Maternus reminded his rulers—perfectly correctly—there lay upon emperors an ‘imperative necessity to castigate and punish this evil’. Their ‘severity should be visited in every way on the crime’. And what precisely did God advise as a punishment for idolatry? Deuteronomy was clear: a person indulging in this should be stoned to death. And if an entire city fell into such sin? Again, the answer was clear: ‘destruction is decreed’.
The desecration continued for centuries. In the fifth century AD, the colossal statue of Athena, the sacred centrepiece of the Acropolis in Athens, and one of the most famous works of art in the empire, was torn down from where she had stood guard for almost a thousand years, and shipped off to Constantinople—a great coup for the Christian city and a great insult to the ‘pagans’…
Note of the Ed.: After the centuries, Europeans even forgot how the Greco-Roman sculptures that were destroyed looked like. My guess is that Constantine’s bishops were not Aryans. Destroying a representation of the beauty of the Aryan physique was part of the Semitic takeover of white society: Let’s destroy your self-image as a means to undermine your self-esteem. Something similar is happening today with the religion of Holocaustianity: Let’s undermine your self-image from a decent person to historic grievances so that you may accept masses of non-white immigrants.
History is written by the winners and the Christian victory was absolute. The Church dominated European thought for more than a millennium. Until 1871 the University of Oxford required that all students were members of the Church of England, while in most cases to be given a fellowship in an Oxford college one had to be ordained. Cambridge was a little freer—but not much.
This was not an atmosphere conducive to criticism of Christianity and indeed, in English histories, there was little. For centuries, the vast majority of historians unquestioningly took up the Christian cause and routinely and derogatorily referred to non-Christians as ‘pagans’, ‘heathens ‘ and ‘idolaters’. The practices and sufferings of these ‘pagans’ were routinely belittled, trivialized or—more often—entirely ignored. As one modern scholar has observed: ‘The story of early Christian history has been told almost wholly on the basis of Christian sources.’
Hagenauer & Grünewald
Isenheim Altarpiece ~ 1512-1516
Unterlinden Museum at Colmar