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Catholic Church Christian art

Mind control of all whites

The multiple appearances of Jesus to his people after the resurrection appear treated by the hand of Duccio di Buoninsegna in his Maestà of the Cathedral of Siena.

When Duccio, who was born in the 13th century, painted The Incredulity of Thomas credulity reigned all over medieval Europe. It was inconceivable to the European mentality that all of the gospel passages that can be seen in the Maestà paintings originated in literary fiction out of the pen of Semitic writers of the late first century. The grip that the Roman Catholic Church had over the European mind was absolute.

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Maxfield Parrish Nordicism

If everyone is blonde who needs hair dyes?

Another Spartan law with racist connotations was to prohibit hair dyes. In the rest of Greece dyes were common, as were blonde wigs, the methods of hair bleaching and the elaborate and extravagant hairstyles like those of Babylon or Etruria (and later in decadent Rome). At one stage of the devolution, when the original native breed in Greece was being diluted by miscegenation, the dyes and the concoctions for hair bleaching were highly prized, especially among women. The same would happen in decadent Rome: Roman wigs were made with the golden hair taken from female German prisoners.

In Sparta the influx of foreigners was jealously limited. It was only possible to visit Sparta for pressing reasons. Similarly, the very Spartans were rarely allowed to travel abroad, and even the slave trade was banned. This was motivated by the interest of the elite that its core would not be corrupted by the softness of foreign customs. The Spartans undoubtedly were great xenophobes.

(Passages from one of Evropa Soberana’s essays in The Fair Race’s Darkest Hour.)

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Christian art New Testament

How the myth developed

Next to the already empty tomb, this Italian work by Andrea Orcagna (1370, preserved in the National Gallery of London) shows a dialogue between a couple of angels and the three Marys.

In the earliest gospel, Mark (16:5) describes that the women enter the tomb and meet ‘one young man’.

A later evangelist, Matthew (28:2), who used Mark’s gospel, embellished Mark’s literary fiction a little further. He changed the ‘one young man’ to an ‘angel’ that arrives during an earthquake and rolls the stone away.

Luke and John, who wrote their gospels even after Matthew, add another angel to the story that greet the women. So there are two angels now, like the blond ones represented by the delicate paintbrush of Orcagna. (I really love how medieval painters used the pink colour…)

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Ancient Greece

The most famous

There was a latent rivalry between the Ionian people of an Athens influenced by Asia Minor, and the Dorian people of Sparta directly influenced by their Nordic heritage, who never stopped being governed by anything but their ancestral tradition and their popular consciousness.

Except for Athens, which saw herself as the best, all other Hellenic states reserved their admiration for Sparta, seeing it as a shrine of wisdom and justice: the true repository of primitive Hellenic tradition. Sparta was always the most famous and respected city among the Greeks. They always resorted to her to arbitrate interstate disputes, and most of the times they not even had to resort to force: Sparta sent an ambassador to which everyone would voluntarily submit, like a divine envoy.

(Passages from one of Evropa Soberana’s essays in The Fair Race’s Darkest Hour.)

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Christian art New Testament

The empty tomb

For Christians, the empty tomb is the great proof that the Jew they worship had risen. In this detail from The Polyptych of the Misericordia that a disciple of Piero della Francesca painted in the 15th century, the women ‘prove the truth’ of the central miracle in Christendom.

Today’s Christians do not seem bothered by the fact that the oldest texts of the New Testament, seven Pauline epistles, do not mention the empty tomb at all. Obviously, the story was invented after Paul by the gospel authors.

Categories
Ancient Greece Aryan beauty Classical sculpture

Physiognomy

The Greeks, and particularly the Spartans, studied ‘physiognomy’ to interpret the character, personality, and ultimately the soul of an individual based on physical features, especially of the face to the point that ugliness in certain Greek states was practically a curse. It was also believed that beauty and a willingness of the features should be an expression of noble qualities necessary for a beautiful body bearer, if only dormant. The creators of the Greek statues made them with that knowledge of the human face and the perfect proportions in mind, and therefore represented not only a beautiful body but also a beautiful body carrying a beautiful soul.

The blind rage with which the Christians destroyed most Greek statues indicates that they greatly feared what they represented, because in them the Hellenes fixed and settled, once and for all, as a goal and template, and ideal: the human type that Christianity would never be able to produce.

(Passages from one of Evropa Soberana’s essays in The Fair Race’s Darkest Hour.)

Categories
Christian art Jesus Racial right Romulus

The resurrected Jew

With the characteristic symmetry of the Renaissance, Mantegna composed this Resurrection in which the resurrected Jew is the luminous axis of the scene (see the complete painting: here), surrounded by the heads of red angels on his right and white angels on his left.

Always keep in mind that the doctrine of the Resurrection was plagiarised by the Jews who originated the Christian sect. They simply used the story of the founding hero-God of the Romans: Romulus. The idea of those who wrote the New Testament was simply to use the mythological biography of the white God to convince the Romans to better worship the god of the Jews.

The parallels between the old Romulus and the new Jesus invented by the rabbis are so obvious that a few are worth mentioning: Both are sons of God; their deaths are accompanied by prodigies and the land is covered in darkness; both corpses go missing; both receive a new immortal body superior to the one they had; their resurrected bodies had on occasion a bright and shining appearance; after their resurrection they meet with a follower on a road from the city; a speech is given from a high place prior to the ‘translation to heaven’; there is a ‘great commission’ or instruction to future followers; they physically ascend to heaven and, finally, they are taken up into a cloud.

Every single Westerner has heard the story that these rabbis concocted about Jesus. But who knows the original legend, that of the Aryan hero-God Romulus?

Judea’s victory over Rome is complete even among those racially conscious Christians who mistakenly fancy themselves as anti-Semites.

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Athens

The supremacy over Athens

At this point, we must address the issue that will certainly be around the heads of many readers: the comparison Sparta-Athens. What city was better?

Often we are told that Athens represented the artistic and spiritual summit of Greece and Sparta the physical and warrior evolution. It’s not as easy as that. We must start from the basis that it is a great mistake to judge the development of a society for its commercial or material advancement. This would lead us to conclude that the illiterate Charlemagne was lower than anybody else present, or Dubai the home of the world’s most exalted civilisation…

Thus we come to the important subject of art. It usually happens that it is a common argument to vilify Sparta. The Spartans used to say that they carved monuments in the flesh, which implied that their art was a living one: literally them, and the individuals that composed their homeland.

But Sparta also had conventional art as understood in the present. It was famous throughout Greece for its music and dance (of which nothing has survived), as well as its highly prised poetry that has come to us fragmented. Its architects and sculptors were employed in such prestigious places as Delphi and Olympia, and imposed a stamp of straight simplicity and crystal clarity in their works.

The best example of this is the sober Doric style, a direct heritage of Sparta that became a model not only for countless temples throughout Greece, as the Parthenon in Athens itself, but also for the classic taste of later Europe that has endeavoured to continue the legacy of Greece and Rome.

(Passages from one of Evropa Soberana’s essays in The Fair Race’s Darkest Hour.)

Categories
Catholic Church Christian art

Mea culpa

Every moment of the gospels on the Passion has been represented ad infinitum and ad nauseam throughout centuries in Christian iconography, which has obviously induced guilt among the white man. (The hypothetical six million Jews killed by evil Germans are nothing more than the secularised version of the Jew killed by evil Romans.) One of these iconographic moments is the issue of descent from the cross and the contemplation of the dead Jew, as in this representation by the German Renaissance artist Albrecht Dürer, Glimm Lamentation, an oil-on-panel painting of the year 1500:

Don’t miss the couple of pious little blond children below the figure of dead Jew.

Speaking of inducing guilt, in the Confiteor what bothered me most when I used to go to the masses was the passage mea culpa, mea culpa, mea maxima culpa (‘through my fault, through my fault, through my most grievous fault’). In the Catholic masses the faithful have to practice three blows to their chests while saying such words, every Sunday and throughout their lives. The Confiteor is so obviously a trick to induce guilt that it is worth quoting:

I confess to god almighty [i.e., the god of the Jews], before the whole company of heaven, and to you, my brothers and sisters, that I have sinned in thought, word, and deed; in what I have done and in what I have failed to do, by my fault, by my fault, by my most grievous fault; wherefore I pray god almighty [the god of the Jews] to have mercy on me, forgive me all my sins, and bring me to everlasting life. Amen.

You can see how the Judeo-Christian trick is detected when changing capital letters to small letters (‘god almighty’) and adding the proper brackets. If we now compare this religion originated by rabbis for us gentiles with the healthy Aryan religion of the Greco-Romans (see e.g., my other post today) the whole point of this site will be taken.

Categories
Ancient Greece

The best whites

All these elements contributed to form a highly spiritual feeling: the Spartan felt himself as the summit of the creation, the favourite of the Gods: a privileged, magnificent, splendid, arrogant and godlike creature; a member of a holy seed, a holy race and a lucky ‘link in the eternal racial chain’, a protagonist of an unparalleled feat of an extremely profound mystical experience that he was convinced would end up leading him directly to the immortality of Olympus, as the semi-divine heroes he worshiped. He was proud of being a Spartiate because precisely the fact that to become one of them it was necessary to overcome the hardest ordeals made him feel a holder of the privilege.

Nietzsche said, ‘For a tree to reach Heaven with its branches, it must first touch Hell with its roots’, and it is said that Odin went down to the huts before ascending to the palaces. This implies that only after passing the most terrible tests the warrior has earned the right to access to higher states. No pain or suffering leads to the drunken arrogance of the one who has not hardened and is unable to take the pleasure, power and luxury with respect, care, gentleness, veneration, humility and an almost apprehensive appreciation. The Spartans had reached the bottom, sinking into the whole tragedy of their atrocious instruction, and also had passed through all the manly sensations of fullness, health, vigour, strength, power, force, dominion, glory, victory, joy, camaraderie, reward and triumph. Having covered the whole emotional range that goes from pain to pleasure made them possessors of a wisdom exclusive for the heroes and the fallen, and surely no one could appreciate more the significance and importance of pleasures than the Spartans.

It existed in Sparta, as in other places, an initiating circle of priests and priestesses. Little is known about them except that they were selected men and women, initiated at specific sites in secret ceremonies called ‘mysteries’, which made them the repositories of ancient wisdom and esoteric mystical orientation. In Greece, the mysteries represented what could not be explained rationally with words, but that was necessary to see and live it. The mysteries (of Delphi, Eleusis, Delos, Samothrace, Orpheus) became prestigious initiation schools, with important people attending from all Hellas with the intent of awakening the spirit.

(Passages from one of Evropa Soberana’s essays in The Fair Race’s Darkest Hour.)