web analytics
Architecture Claude le Lorrain


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.

Claude le Lorrain Free speech / association

Facebook nuked my account

‘Your Account Has Been Disabled. For more information, or if you think your account was disabled by mistake, please visit the Help Center’.

Before my page passes into absolute oblivion (there are other guys there with my name who are not even relatives) I feel obliged to say that, at the top, my Facebook (FB) page had this painting by Le Lorraine that evokes the world of my utopian imagery for the white race: a bucolic town that contrasts to the Mammon-worship cities of today.

My latest posts on FB had been links to some featured articles on this site. My FB list had a large number of friends from the white nationalist community, and a few followers including some Mexican relatives.

Among the images I uploaded to my now gone FB account were the nymphs painted by Maxfield Parrish, some of which appear on the sidebar of this site, another pic that said ‘It’s okay to be white’ and this super-quotable quote by Ron Unz. (Incidentally, the thoughtpolice also recently nuked The Unz Review FB page.)

Claude le Lorrain Pride & Prejudice

P & P (2005)

In the early hours of the day after midnight, I began to watch once again the 2005 film Pride and Prejudice, based on Jane Austen’s novel. I felt really tired and had to suspend the function, already after two in the morning. I left when, advised by Mr. Darcy, Mr. Bingley struggles with himself to propose to Jane Bennet. Tonight I will see the rest.

Over the years I have talked about that movie, even since the old incarnation of this site. While what I said last week is true, that even seemingly benign films contain a subversive mustard seed that can grow, in this P&P adaptation there is no bad seed. It is a movie that may well have been filmed in a parallel world in which Hitler had won the war.

There are several readings we could make of the film. Personally, the actress who plays the blonde Jane represents, in flesh and blood, the ethereal nymphs that I place on the sidebar: the inspiration of David Lane. If there is something that I fail to understand in the white nationalist movement, it is this lack of praise for the most beautiful specimens of the Aryan race. I just do not get it. Eros’ force about women like Jane should, on its own, move millions of whites to Lane’s words. And I don’t mean only ‘That the beauty of the white Aryan women shall not perish from the earth’, but the consequence of Eros, lots of children: ‘We must secure the existence of our people and a future for white children’.

The other issue is marriage. If ours is the darkest of all times, it is because they inverted values in everything related to sexuality and the reproduction of the Aryan race. Needless to say, salvation consists of transvaluing values as they were before, in the world of Austen. But with the exception of Anglin and Devlin, who, among the white nationalists, insists so much on the subject? This is one of the many reasons I don’t take the movement seriously. In Hitler’s Germany, on the other hand, the sacredness of marriage and Aryan reproduction was primordial.

As I said, tonight I will finish watching the movie where I left after midnight. Those who want to capture the spirit of this site, what moves me to write, will have to buy the DVD of P&P and watch it from time to time. The music of Dario Marianelli, the landscapes of bucolic England, and even the buildings—for example when Mr. Darcy proposes to Elizabeth—should move the deepest fibre of the white man.

If you visit my Facebook or Twitter pages, you will find the same painting of Claude le Lorrain above the pages. It is known that the wealthy 19th-century English tried to bring the beautiful architecture of some paintings of le Lorrain (paintings that I contemplated during my last visit to London’s museums) to the countryside of the island. The building that served as a refuge from the copious rain for the future couple, when Mr. Darcy proposes to Elizabeth, is the perfect framework for the fourteen words (or twenty-eight, if we are to count the two meanings of the Lane words).

Art, architecture, Aryan beauty, Puritan sexual customs, the 14 words, good music (the very antithesis of what whites listen today), bucolic landscapes—it is all the same. Hitler, who sometime in his life wanted to be an artist, saw it clearly. When will white nationalists see something so obvious?