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Blacks Charles Darwin Christian art Exterminationism Miscegenation

Kill ’em all

Editor’s note: This crucifixion of Antonello da Messina is kept in a museum of Antwerp. The death of the thieves escorts and accompanies Jesus. The iconographic tradition puts the ‘good guy’ on his right and the ‘bad guy’ on his left.

But Christian morality has crucified the laws of selection that Darwin discovered, to the degree of irreparably fouling much Aryan gene through miscegenation. The following is Robert Morgan’s most recent comment on Unz Review.

His position is not original. Remember that Charles Darwin himself predicted that blacks, as an obsolete subspecies, would be exterminated in a world ruled by the selection of the fittest. Or as I would say in my blasphemous paraphrase of Jesus, ‘Many genes will be called but few will be chosen’.
 

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Commenter: “However deporting 4.5 million blacks in 1865 would have required 22,000 ships, if each ship held 200, or 10,000 ships if each carried 450.”

Morgan: Shipping the negroes back to Africa wasn’t the only option, of course. They could simply have killed them; failing that, they could have put them on reservations.

Why didn’t they?

A policy of extermination, with reservations for any left over, seemed to be good enough for the injuns, so Christian morality can’t be entirely to blame, even though the negroes, unlike the injuns, had been Christianized and thus were imagined to be the white man’s brothers and sisters in Christ.

But the answer becomes clear once we realize that the one drop rule, coupled with the white slavemasters’ proclivity for breeding with the negro women, meant that there were no doubt many nominally negro slaves who, like the half-sister of Thomas Jefferson’s dead wife, Sally Hemings, had a lot of white blood.

So much interbreeding had gone on that some of the negroes could even pass for white. How to dispose of the octaroons and other racially mixed posed a difficult problem for whites of those days, who perhaps might otherwise have been more inclined to send them all to Jesus. No doubt the white-looking contingent among the negroes was also a factor in the decision to make them citizens and give them the vote.

One might pity whites of those days for having to make such a difficult decision, but that pity must be alloyed with a degree of contempt for their cowardice in taking only half measures to address the problem. They’ve cursed their posterity by making them deal with the consequences of their greed and lust.

Each time we read these days of a negro senselessly murdering or brutally raping a white, we have them to blame.

Categories
Christian art Technology

Morgan on the JQ

Jacob Cornelisz van Oostsanen, an important artist working in Amsterdam at a time when it was a flourishing town, has made all the protagonists of the Passion go up to Mount Calvary: the ‘Veronica’, the ‘Magdalene’, Mary and the disciples—all whites!—while blond angels collect the drops of Jesus’ blood. It is striking that a few centuries ago the European mentality imagined the ancient Jews that way, especially because in Amsterdam they really knew how Jews looked like.

Below, yesterday’s comment by Robert Morgan about the Jewish question and technology. I do recommend visitors to watch the recent miniseries Chernobyl, of only five episodes, to see why Man is not ready for the Promethean fire.
 

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In my view, whites have been primarily victims not of the Jews, or any other group, but of their own collective technological ingenuity. Jews are a problem, but in the final analysis, they only have as much power as whites allow them to have. Christian morality is also a problem, but here again we are dealing with something that is within white control. It too only has the power whites give it. On the other hand, I see technological development as inherently hostile to race preservation, and touch on it here, in a comment on another thread.

I think if the technological system survives, the white race is doomed. The system has great resilience, but if it crashes or is made to crash, there is hope. However, in order to be effective at saving the white race, any crash would have to be worldwide and permanent, or the parts of the system that were still functioning would simply regenerate, re-establish control, and the problem would continue.

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Abraham Lincoln Christian art New Testament Racial right Raphael

More on Raphael & Jared

Since to some readers the story of Ananias and Sapphira in Acts sounds like a narrative showing Peter complicit in the deaths of the couple, the story is rarely shown in art. But it is the subject of one of Raphael’s paintings. Below, Robert Morgan responding to a Christian commenter about this gospel story (after that, Morgan added a few more comments about Jared Taylor and related subjects):
 

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It appears you’ve forgotten the setup to the murders [of Ananias and Sapphira]. It was previously stated in Acts 4 that nobody in this cult had any property of their own, but held everything in common. In other words, it operated like a typical cult, using such techniques to brainwash and control its members, much like Koresh or Jones did. Leaving members with no private money or means of support ensures they won’t leave, and helps enforce obedience. Now you’ve invented this whole story about their being wealthy to excuse your psychopathic God’s action in killing these two people. It’s all quite pathetic, really. Your desperation is showing.

Though we must have some sympathy here for the couple, let’s also keep in mind that like rest of the stories in the Bible, it’s just fiction; a lie. The true victims were the real-life cult members this story was meant to intimidate; i.e., the non-Jew suckers who became Christians and were swindled by these criminal Jews Peter, Paul, and the rest. Christianity in the ancient world was a death cult that grew like a cancer until it murdered not just two people, but a whole civilization. It caused millions to suffer and die, and will certainly do so again if it’s allowed to.

* * *

Disappointing that Taylor, in his audio version of the interview [with Fareed Zakaria] at his site, at minute 22:26 to 22:40, is still spreading the misinformation about Lincoln, and his so-called plan to send the negroes away after the war. I don’t know why he keeps repeating this lie. Lincoln never had any plan to forcibly round up the negroes and ship them off whether they wanted to go or not. Neither did anyone else, afaik [as far as I know]. The only kind of “colonization” (as it was referred to) that was under discussion was to be on a voluntary basis, offering assistance to any who wanted to leave.

Of course, it didn’t work, and I would argue that Lincoln knew it wouldn’t. Negroes back then didn’t want to return to Africa any more than they do today. Only about 3% ever left. Furthermore, in his last public address before being assassinated, Lincoln called for negroes to be made citizens and given the vote. Why did he do that if he thought they were all going to shortly be leaving for Africa? It’s all part of a false narrative he’s helped construct, probably with the ulterior motive of obscuring Christianity’s role in the American racial disaster, since almost all the abolitionists were Christian fanatics.

Alden: “Our racial collapse in America occurred between 1956 (Brown) and 1973 (Griggs). and it had nothing to do with Christianity.”

Morgan: No. Start at the Civil War, immediately after which the Constitution was amended to make negroes citizens and give them the vote. Christian abolitionists were instrumental in starting the war. Christian morality guided whites in making negroes citizens and giving them the vote. All that has happened after that was just a matter of living up to the letter of the law…

I don’t really care if anyone responds to my remarks. Most here appear to be people who are stuck in a certain worldview, and because of this will never get it no matter how many times the situation is explained to them. Occasionally though, interesting things are said.

Editor’s note: This is why I quit commenting in white nationalist forums: we are seeing things from a broader paradigm than that of nationalists (the Christian problem as a sort of extension of the Jewish problem).

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Antichrist (book) Buddhism Christian art Raphael

The Antichrist § 20

Left, a detail from Christ Falling on the Way to Calvary in the Museo del Prado in Madrid: a painting by the Italian High Renaissance painter Raphael, ca. 1515. Although it is an important work for the development of Raphael’s style, in no way the face of Jesus depicts accurately how the faces of 1st-century Jews looked like.

For centuries, Europeans have been projecting their whiteness and even their Nordic features onto ancient Semitic characters. Recently, however, with old skulls forensic anthropologists have reconstructed the faces of first-century Jews. They demonstrate that those Jews had a broad, ugly face that differed significantly from the traditional depictions of Jesus in Renaissance art.

In this instalment of Nietzsche’s The Antichrist I won’t quote any sentence from the book’s §20, where Nietzsche compares Buddhism with Christianity. It is not germane to our subject and, unlike Nietzsche, I do not respect Buddhism.

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Antichrist (book) Christian art Friedrich Nietzsche

The Antichrist § 19

Padua’s version of the Sistine Chapel, the Scrovegni Chapel, houses one of Italy’s great Gothic/Proto-Renaissance masterpieces: a cycle of Giotto frescoes. This specific fresco shows Jesus before Caiaphas. In his book The Antichrist, Nietzsche said:
 

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The fact that the stronger races of northern Europe failed to reject the Christian God does not say very much for their skill in religion, not to mention their taste. They really should have been able to cope with this sort of diseased and decrepit monster of decadence. But they were damned for their failure: they brought sickness, age, and contradiction into all of their instincts, – they have not created any more gods since then.

Almost two thousand years and not one new god! And all the while, this pathetic God of Christian monotono-theism (*) instead, acting as if it had any right to exist, like an ultimatum and maximum of god­ creating energy, of the human creator spiritus!, this hybrid creature of ruin, made from nullity, concept, and contradiction, who sanctions all the instincts of decadence, all the cowardices and exhaustions of the soul! – –

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(*) The verbal mockery of monotonous-theism had already been used by Nietzsche in Twilight of the Idols.

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Antichrist (book) Christian art Friedrich Nietzsche

The Antichrist § 18

In my post yesterday we saw the prayer in the Garden of Gethsemane according to the poetic imagery of Fra Angelico. In this arid interpretation of Bellini (National Gallery, London), we see the same apostles not as blond as in Fra Angelico’s painting, but at least they are still white.

In this new series about Christian art that I started with these posts, we will see that in other representations of Jesus and the apostles, the characters were painted as mudbloods.

In his book The Antichrist, Nietzsche said (the ‘beyond’ refers to the lie about the post-mortem survival of the human soul):
 

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The Christian idea of God—God as a god of the sick, God as spider, God as spirit—is one of the most corrupt conceptions of God the world has ever seen; this may even represent a new low in the declining development of the types of god. God having degenerated into a contradiction of life instead of its transfiguration and eternal yes! God as declared aversion to life, to nature, to the will to life! God as the formula for every slander against ‘the here and now’, for every lie about the ‘beyond’!

Categories
Christian art Nordicism Racial right

Renegade Tribune comment

Editor’s note: Many painters have imagined the agony in the Garden of Gethsemane with Semitic or mudblood characters. You can imagine the catastrophe for the Aryan psyche when handsome White statues and paintings of Roman frescoes representing Whites was abandoned in favour of Semitic models!

What I like about Fra Angelico is that he Nordicizes his characters. This, for example, is one of the panels of the Florentine convent of St. Mark. In any case, had there been no Judeo-Christian hostile takeover in the 4th and 5th centuries of our era, these medieval painters would have painted Nordic figures without the need of biblical passages.

Below, an old comment from a thread that the website Renegade Tribune removed:
 

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I could not agree more with this [Axe of Perun’s] article. I am regular listener of the Political Cesspool radio show, and while I like their pro-White message and pro-Southern message—I really do get turned off in a big way, when they start banging their drum for Christianity. These guys have even said that the pro-White movement has no chance of success, unless we all wrap that Jewish written, white racial suicide pact/dog collar around our White necks.

Categories
Christian art

Axe of Perun’s exchange

Below, Christ at the Column
Antonello da Messina, 1477

Commenter said: ‘Great articles! [deleted articles by Perun in Renegade Tribune debunking Christianity]. I know people are gonna get all stupid about this, saying that this does nothing but harm the movement, blah blah blah… I for one, care only for truth. The truth hurt me bad when it hit me years ago, but in hindsight it was the best thing that ever happened to me. I’ve come to see that the Abrahamic “god” is truly unworthy of worship and indeed has brought humanity down into a very confused state’.

Axe of Perun said: Seeking the Truth is in our Nature. None of us is doing this with the intent of harming our confused European brethren, “Christians”—we are doing this so that we may finally breathe again properly. Good comment, thanks!

Categories
Christian art Paris

Notre Dame

The French, original title of Victor Hugo’s 1831 The Hunchback of Notre-Dame is simply the cathedral itself: Notre-Dame de Paris.

L’architecture est le grand livre de l’humanité, l’expression principale de l’homme à ses divers états de développement, soit comme force, soit comme intelligence.

Categories
Art Christian art Matthias Grünewald My pinacoteca

Isenheim Altarpiece

Hagenauer & Grünewald
Isenheim Altarpiece
~ 1512-1516
Unterlinden Museum at Colmar