Hellas, Rome and the Continuation of Their Legacy

By

Dr Ricardo Duchesne*

For some decades now, historians in the West are being trained to

portray the history of Europe as a long history of migrations and racial

mixing -- to make students believe that the current immigration trends

are in line with past patterns.

Even the best historians abide by the dictates of diversity. Take this

otherwise excellent book, The Beginnings of Rome: Italy and Rome from

the Bronze Age to the Punic Wars (1000-264 BC) ----- from the start it

says that "Italy has always been a variegated country...a patchwork of

different peoples, languages and cultures". "The resulting patch work

was the product of successive movements of population in prehistoric

times".

Yet, in truth, the peoples of prehistoric Italy were overwhelmingly

members of the "Indo-European 'Italic' languages". It sounds very

diverse when you read about the Volscians, Latins, Samnites, Romans,

Marsi, Umbrians, Sabines...with the Greeks in the south and the Celts in

the north.

Don't be misguided. These are all members of the 'Aryan' Indo-European

race. You can categorize them as the "Italic" group of the IEs who

colonized Italy in the second millennium.

Yes, there were also pre-IE "survivals forming part of a 'Mediterranean'

substratum" who came originally from Anatolia, the farmers who migrated

into southern Europe 8,000 years ago. These farming peoples, it needs to

be clarified, were also Caucasian, selected for *additional* white

traits in the new climes of Europe.

What about the famous Etruscans? They were not IE, likely Semitic,

Phoenician.

After WWII, to counter Mussolini's fascism, and the idea that Italy was

"overrun by Aryan invaders", historians pushed the idea that the

Etruscans were the most important cultural shaper of prehistoric/ancient

Rome.

But the book I referenced above, to its credit, demonstrates that "the

Etruscans had only superficial effects on Roman life and culture".

The most powerful cultural-racial influence came from the Italic IEs,

and the Greeks who had been colonizing southern Italy and by the fifth

century had created a "Great Greece".

Since the Greeks in southern Italy were the most advanced IEs in contact

with the Greek mainland, they came to provide a powerful cultural model

for an aristocratic civilization in Italy, starting with the Homeric

ideals of personal esteem in warfare, feasting with warrior companions,

pursuit of honor and prestige.

IEs are naturally inclined to create Republics because of their fierce

aristocratic pride and unwillingness to submit. Even after they

conquered Greece in the 2nd century, the Romans felt a strong cultural

bond with the Greeks.

Without the Romans, the Greek legacy would have been diluted by the

Orientalization which occurred with Alexander's expansion in the East.

Once the Roman empire experienced its own Orientalization and began to

lose its Republican ethos in a state of decadent affluence, it was for

the IE Germanic peoples to preserve this legacy.

*Ricardo Duchesne is a retired professor and author of Uniqueness of

Western Civilization,  Canada in Decay, Faustian Man, and Greatness and

Ruin.

The Will of God

 

"As in dreams I designed,

as my will it decreed,

strong and fair stands it in sight:

lofty, lordly abode!"

Carl Hermann Bachmann

(1834-1937)

as 

WOTAN

Der Ring des Nibelungen

The Invincible Sun of December 25th

Sol Invictus was the Roman embodiment of the sun’s enduring power—the unconquered one. Rising to prominence in the 3rd century AD, the cult emphasized renewal, victory, and cosmic order during a time of political crisis.

The god’s status was elevated by Aurelian, who in AD 274 established Sol Invictus as a state-supported deity, built a grand temple in Rome, and instituted official games in his honor. Sol was depicted radiate-crowned, driving the solar chariot across the sky—an image of invincibility and stability.

The festival Dies Natalis Solis Invicti (“Birthday of the Unconquered Sun”), celebrated on December 25, marked the sun’s return after the winter solstice. In Late Antiquity, solar symbolism proved enduring; its themes of light and rebirth resonated widely and were adapted within a changing religious landscape.

Sol Invictus stands at a crossroads of Roman tradition—where power, light, and renewal were bound to the turning of the year.

Source: Truth & Trends 

The Wild Ride of Yule

ASGAARDSREIEN

by

Johan Sebastian Welhaven

Sounds through the air at night a train

on foaming black horses.

In storm-driven rush the wild throngs go;

they have only clouds for foothold.

They go over valley, over field and moor,

through darkness and weather; they notice it not.

The traveler throws himself terrified on the road.

Hear what roaring — it is the Wild Ride of Asgard!

Thor, the strong, with lifted hammer,

stands high in his chariot, at the front of the host;

he strikes on his shield, and red flames

light up the nightly procession at the front.

Then horns blow, then there is a clamor

of bells and jingling riding gear;

then the swarming host howls and the people listen

with growing fear in their trembling huts.

The Wild Ride of Asgard in battle array rides

in harsh nights of autumn and winter,

but especially it travels at Yuletide;

then it holds revel with trolls and giants,

then it sweeps low over meadow and path

and races past the noisy countryside —

so watch yourself, farmer, keep custom and order;

for the Wild Ride of Asgard is soon at the farm!

When the ale works in the living-room beam

and awakens the heathen Yuletide customs,

and the fire casts its glow from the hearth

on drawn knives and wild eyes,

then a shudder goes through the tumult often;

then are heard the nightly host’s rides,

then the wall creaks, then the mug dances;

for the Wild Ride of Asgard makes a ring around the house.

There was a wedding at Upper Flage

that lasted through three holy Yuletide days.

Among the bridesmaids was no kinswoman of the bride,

and among the young men no kin of the groom.

There stood a splendor in the polished hall

of laid tables and precious metal,

there was a treasure, as has come to be told,

of copper on the walls and of silver on the tables.

And merrily drummed the drums and fiddles,

and the groom stepped his dance manfully;

he led his bride between young men and girls —

then, suddenly, Grim fell over.

And blood streamed widely from his breast.

The harder the two others wrestled

and held each other by the scruff.

At last the groom was set down on the ground,

and the knife already at his throat.

But Wolf held back and stood stunned,

and quavered and trembled like aspen leaves.

For through the air in the gloom rushed

a whooshing train on snorting horses;

it sped over the forest toward the bridal house,

and intended to visit the bloody feast.

Then horns blew, then there was a clamor

of bells and jingling riding gear.

Now it was near — it came over the moor —

there was a scream: “It is the Wild Ride of Asgard!”

Then there was a storm between earth and heaven,

that threw terror into every breast;

it hurled along in increasing throngs,

it struck with wings, it seized with arms.

Then it was Wolf who was dragged by his hair,

and flung in the air and taken from the farm,

yes, taken over forest, over mountain peaks —

he was not asked again, he was not to be found.

When the tumult died down at the scene of terror,

Grim lay curled up from his death struggle,

but the groom was led inside from the snow

and set upon a couch in the guest room.

His head wavered, his bloodstream flowed,

he hovered a while between life and death;

but he was tended and well bandaged,

and by spring he had regained all.

Now he sits bent and well old,

and can gather his kin about the hearth,

now he often sits with tales in the company

and shortens time for young and old.

So it was that last Yuletide eve,

when the youth cried: “Tell, tell!”

Then his eyes flamed, then he looked back,

then he recounted his wedding days.

Temple of Apollo Epicurius - A Cinematic Poem

This film, shot in 1964 and awarded at the Paris Biennale in 1965, was never shown in cinemas. It's screening at the event "Epicurius Apollo by the Moonlight" was one of the rare ones and combined with the place where it was filmed and dedicated, it was a unique experience for the viewers.

Temple of Apollo Epicurius at Bassae: collectible documentary before the temple is covered! It is the first film about the temple of the epicurean Apollo that Iktinos built on top of a mountain.

The director (Jean-Daniel Pollet) was enchanted and said that this temple was the center of the world for him. So he filmed him with the rhythm of a sacred ritual and the result rewarded his efforts. The temple is built mainly with limestone stone and is without the statue of the god Apollo. Impressed by the charm of the archaeological site of Basso, the excellent director Jean-Daniel Pollet, as soon as he discovered it, found an existential refuge saying "Here you can exist".

He characterized the place as the unheard end of magic and for a decade considered it the center of the world. He visited it many times and three of his films have references to the temple of the Epicurean Apollo. One of these "Vasses" is dedicated to the temple. It is a cinematic poem. The director himself has described his relationship with Vasses as follows: "I first saw the temple of the Basses while circumnavigating the Mediterranean. So I have to say why I left, why I did this round. I had marked the temple in a lithograph (not a photo) of some book because it said that it was the only one built on the heights of the Peloponnese and without a view of the sea.

Source: HERE

Florian Geyer, Goetz von Berlichingen and Their Divisions

They named SS divisions after men like Florian Geyer and Götz von Berlichingen, and there is nothing strange about it. Because these weren’t “anti-authoritarian rebels” in the liberal sense. They were Teutonic avatars of the freeman-soldier, the wild nobility of blood and oath, untamed by throne or mitre and yet bound by the higher principles of honour, wrath, and destiny.

Florian Geyer led the Black Company like a mythic revenant of Wotan. He

was a knight against a fallen world who turned his sword against both

crown and cross in wrathful remembrance of a higher order betrayed. “No

cross, no crown” because both had become parodies.

“In a society that no longer understands the figure of the ascetic and

of the warrior; in which the hands of the latest aristocrats seem better

fit to hold tennis rackets or shakers for cocktail mixes than swords or

scepters…” 

Julius Evola, Revolt Against the Modern World, p. 163

The world is no longer fit for warriors, and the aristocracy is no

longer worthy of rule, but Geyer’s sword remembered, and so did the SS

who named a cavalry division after him.

 Götz was a man of fire-forged defiance. When flesh failed, he forged

a fist of iron. When emperors betrayed the folk, he cursed them in

immortal tongue. He was loyal to the ancestral blood that still surged

in his veins and his allegiance was to the Germanic will, to that sacred

axis of sword-law, clan-right, and divine fury.

Those who still feel the call of war, of legend, of the sacred flame,

will always be called “strange” by the gelded moderns, but National

Socialism reached backward in remembrance. It sought the archetypes of

the wild knight, the folk-warrior, the god-killer, the iron-handed

revenant of a race that once walked with the gods. These were living

symbols: figures who rose in the twilight between Reichs, and whose

legend burned with the raw flame of pre-Christian sovereignty.

Aesthetic? Yes. Mythic? Absolutely. But above all, ancestral.

Because as Savitri Devi noted, “National Socialism is the only modern

“ism” that is anything but modern.” It was an attempt to reconnect the

severed thread of blood and myth, to reawaken the thunder beneath the

cross and the spear beneath the crown.

SOURCE: Dispatches from the Past

The Ballad of Lenora

 

THE PAINTING: The Ballad of Lenora (1839) by Horace Vernet

The story comes from a German ballad written in 1773 by Gottfried August Bürger , a poem so haunting it inspired everyone from Edgar Allan Poe to Bram Stoker. It even gave Dracula one of its most famous lines: "The dead travel fast."

Here's what happens:

It's 1763. The Seven Years' War has ended. Lenora is waiting for her fiancé William to return from the Battle of Prague. The army comes back. Everyone's reunited with their loved ones.

Except William. He's not among them.

Lenora spirals into grief. She curses God. She loses hope.

Then, at midnight, there's a knock at the door.

It's him. William. On a black horse. In full armor. He tells her to come with him , they'll be married before dawn. They have to ride fast. Very fast.

She climbs on. They gallop through the night. Past forests. Over rivers. Through graveyards. The wind howls. Spirits chase them. She asks why they're going so fast.

He answers: "The dead travel fast."

As dawn breaks, they arrive at a cemetery. The horse stops. And William transforms.

The armor crumbles. The flesh falls away. He's not her lover.

He's Death itself.

SOURCE: Stories Behind Art

A Letter To The Press from 1957 - Still Valid Today!

 

Kosher Conservatives

The most deadly danger of all are the capable “conservatives” who have somehow fallen into the clutches of the Jews. These Jew-directed “Kosher Conservatives” have enormous amounts of money, industrial power, and national influence. Were they ever to take a united stand against the Jewish tormentors of our people, the game would be over in the morning. So, knowing this, the Jews have developed for these sincere but shortsighted wealthy right-wingers a sort of playpen in which they can thrash around to their heart’s content, without ever doing any damage to the plans of our mortal enemies.

The very word and idea of “conservatism” guarantees that the victims of this delusion will merely try to “conserve” what is already gone (such as the Constitution, etc.), thus condemning themselves to a pitiful, rear-guard defensive action. They are very much like white-whiskered old Calvary Generals, long retired, cackling and fuming for the restoration of their beloved cavalry, long after tanks and rocket-launchers have swept the last horses from the battlefield.

Those committed to “conserving” something are doomed to think so strongly in terms of defense that the very idea of attack seems sacrilegious to them.

George Lincoln Rockwell

Early Landscape… Through Romantics’ Eyes

The early landscape painters drew from the rich mine of romantic travel landscape painting, which developed quite remarkably from the second half of the 18th to the early 19th century.

The romantic painter did not depict antiquity the way the neoclassical artist did. He would stand in reverie before the ancient ruins, the melancholy remains of a “golden age”, irrevocably lost. Greece as seen by the Romantics is suspended in a transcendent space, where immobile historical time rules.

Angelos Giallinas (1857 - 1939), Thision and the Acropolis, ca 1895

Georgios Margaritis (1814 - 1884), View of the Acropolis, ca 1845

Thomas Voutsinas (1859 - (?)), Observatory

Emilios Prossalentis (1859 - 1926), The Acropolis, 1897

TEXT & PAINTINGS : National Gallery of Athens

Hellas - A River of Blood Through the Centuries

 

Photo 1: Funeral Dance, 5th century BC. Greek fresco taken from a tomb in Apulia.

Photo 2: Hellas, Epidaurus Festival 1954.

Mavericks With a Death's Head Banner

The DNA of Greeks

By

Dr. Ricardo Duchesne

There is a mistaken assumption that the Ottoman occupation of Greece from the mid-15th century to the early 19th century had a major genetic impact on Greece, resulting in strong admixture with Turkic genes. Don't believe it. The Ottomans acted mainly as rulers, military overseers, and tax collectors. There was no Turkic settler population. The Greeks maintained social separation.

Ottoman rulers emphasized control and taxation (via the conscription of Christian boys into the Janissary elites, leading to their Islamization and separation from their Greek origins). But this involved a small number of Greeks. Greeks were left to self-govern themselves under the Orthodox Church.

Conversions to Islam among a few Greeks did occur (for tax relief or status), but these converts integrated into the Turkish identity. Turks did not integrate into Greek society. There are now genetic studies showing "minimal Turkish admixture in modern Greeks".Modern Greeks exhibit "strong continuity with ancient populations."  Greeks share approximately 70-80% of their DNA with Indo-European Mycenaeans (Bronze Age Greeks) and Anatolian farmers who settled in ancient Greece before the Mycenaeans arrived.

After this genetic influx, the only external genetic influence into Greece came from Slavic medieval migrations around the 6th-10th centuries, not Ottoman Turks. The Slavic gene flow is evident particularly in the northern regions of Greece, Macedonia and Thessaly, estimated at 15 to 20%. In the southern regions, Slavic admixture is estimated at 5-10%. The Anatolian farmer migration occurred around 7000-6000 BC. This Anatolian influence is evident in many regions of Europe, particularly the south. It is known as the "Early European Farmer" (EEF) ancestry.These Anatolian Neolithic farmers were Caucasian, not Semitic, not Levantine, not Phoenicians or Hebrews. They represented a distinct "West Eurasian population", deriving most of their ancestry (80-90%) from local Anatolian hunter-gatherers. Their languages included "pre-Indo-European substrates" (ancestral to Hittite).

Yes, they were darker than modern Europeans, but all Europeans were "darker" back in prehistorical times, since the European-white race evolved in the course of time in the continent of Europe. There is no such thing as a primeval white population. Lighter skin pigmentation in Europe, after all, evolved gradually through selection and later admixtures over thousands of years. The Anatolian Neolithic farmers, who migrated into Europe (and Greece) already carried some alleles associated with lighter skin, though, overall, these farmers had olive to medium brown skin tones. The shift toward lighter skin in Europe, including among Greeks, occurred gradually due to lower UV radiation levels in Europe as compared to the Near East. These "white skin" variants were already present at "low frequencies" in some Neolithic populations in Europe, increasing in frequency in the course of time, particularly in northern Europe, where selection pressure was stronger due to lower UV exposure.

NOTE: 

Omaimon Paradosis does not full agree with this article (Fex the info about Slavic gene is obviously exaggerated). But in general its in the right the direction about the Greek DNA through the centuries

SEE ALSO:

Carleton S. Coon - The Races of Europe

The Ancient DNA of the Greeks

At The Tomb of Alexander The Great

 

Caesar August Visits the Tomb of Alexander 

About this time he had the sarcophagus and body of Alexander the Great brought forth from its shrine,⁠  and after gazing on it, showed his respect by pla­cing upon it a golden crown and strewing it with flowers; and being then asked whether he wished to see the tomb of the Ptolemies as well, he replied, "My wish was to see a king, not corpses."

The Text: 

SUETONIUS - The Life of Augustus

The Painting:

FRANCOIS SCHOMMER - Augustus at the tomb of Alexander

Martin Heidegger in Greece

 

"Heidegger's philosophy is largely concerned with the historical role of post-Socratic Greek thought and the oblivion of Being - Heidegger always favored the fragments and poetic sayings of the pre-Socratics ... finally, in 1962, he traveled to Greece and is here shown at the Acropolis and at Delphi ... however it was at Delos (not shown) where he truly felt the "presence of that which grants Being-present" (Safranski) ... in the second part of the clip Heidegger responds to charges that he is only concerned with Being and not with human beings: "Being needs human beings.... One cannot ask about Being without asking about the essence of human beings ...""

The Doomed Procession

 

"The Wild Hunt of Odin" 

by Peter Nicolai Arbo (1872)

National Gallery, Oslo, Norway

Forget peaceful gods and gentle myths,this painting captures the Norse apocalypse in full throttle. Here, Odin doesn’t just lead heroes, he leads an army of the dead, outcasts, and furious Valkyries tearing through the sky like a cosmic tornado. 

The Wild Hunt wasn’t just folklore,it was a terror passed down through generations. People truly believed that seeing this spectral horde meant death, plague, or war was coming. Odin’s not the kindly god here,he’s the unpredictable judge, riding with lost souls, witches, and spirits who don’t fit in heaven or hell. Some legends even say those who witnessed the Hunt could be snatched away, forced to join the doomed procession for eternity.

Source: Stories Behind Art

The Daily Life of Ancient Greeks

The daily life in ancient Hellas as it was written directly in the sources. 

Quotes taken from: 

 Souda Lexicon, Xenophon, Plato, Homer, Pindar, Thucidides, Menander, Sappho, Euripides, Kallinos etc

The Last Will of Plato

 

These are the bequests and instructions of Plato:

The estate at Iphistiades, whose northern boundary is the road to the sanctuary of Kifisia, southern boundary the sanctuary of Heracles at Iphistiades, eastern boundary the estate of Archestratus of Phrearrhioi, and western boundary the estate of Philip of Cholidae, may not be sold or exchanged, but shall belong to the child Adeimantus.

The estate at Eiresidai, which I bought from Callimachus and borders on the north and east with the estate of Eurymedon of Myrrhinous, south with that of Demostratus of Xypete, and west with the river Kifisos.

Three silver minae. A silver vessel weighing one hundred sixty-five drachmas. A cup weighing forty-five drachmas. A gold ring and a gold earring weighing together four drachmas and three obols. The stonecutter Eucleides owes me three minae.

I release Artemis (a slave). I also leave the slaves Tychon, Bicta, Apolloniades, and Dionysios.

Household items as listed in the inventory. A copy is kept by Demetrios.

I owe nothing to anyone.

Executors: Leosthenes, Speusippus, Demetrios, Hegias, Eurymedon, Callimachus, Thrasippus.

That was his will.

THE FOLLOWING EPIGRAMS WERE INSCRIBED ON HIS TOMB:

1. Here lies the divine Aristocles (Plato), who surpassed mortals in wisdom and righteous character. He was more praised than all others praised for wisdom, and envy is excluded.

2. The earth here embraces the body of Plato, but the soul of the son of Ariston dwells immortal among the blessed. Good men, no matter how far they live, honor him, for he discerned the divine life.

3. Eagle, why do you fly over the grave? Tell us whose divine, starry house you gaze upon?

—I am the image of Plato's soul rising to Olympus. His body, born of earth, remains in the Attic land.

4. If Plato had not been born in Greece thanks to Phoebus (Apollo), how could he have healed human souls with letters? His son Asclepius heals the body, Plato heals the immortal soul.

5. Phoebus (Apollo) gave mortals Asclepius and Plato—one as savior of the soul, the other of the body. After a wedding feast, he passed through this city he had built for himself and settled in the house of Zeus.

Source: DIOGENES LAERTIUS Lives and Opinions of Eminent Philosophers

Photos: Taken by me. Plato's Academy as it is today , July 2025. 

The Last Prince of Art of Munich

 

"Born in lower Bavaria, Franz Stuck came from a peasant stock, and his talent as an artist was evident from an early age. He received his artistic training at the Academy of Applied Arts and the Academy of Fine Arts in Munich. While still a student he began supporting himself with work as an illustrator, producing drawings and caricatures for the picture magazine Fliegende Blätter, as well as designs for bookplates, menus, and so forth. Active as a painter, sculptor, printmaker and architect, Stuck was one of the founders of the Munich Secession in 1892, and soon became among the most successful and renowned artists in the city. His large and boldly coloured mythological paintings, characterized by Symbolist overtones, won medals and prizes at exhibitions in Germany, Europe and America over the next three decades, and he was also much in demand as a portrait painter. 

In 1895 Stuck was appointed a Professor at the Akademie in Munich, where his pupils were to include Paul Klee, Josef Albers, and Wassily Kandinsky. In 1897 he began work on the construction and elaborate decoration of a new home and studio in Munich, known as the Villa Stuck, for which he also designed the furniture. The house was completed in 1898, and is today a museum devoted to the artist’s life and work. In 1905 he was awarded a Knight’s Cross of the Order of the Bavarian Throne, which raised him to the nobility, and from this point onwards he signed his works as ‘Franz von Stuck’. At the International Exhibition in Venice in 1909 Stuck was given a room to himself, and in the later years of his career began to focus on sculpture over paintings. By this time, however, his work was beginning to fall out of favour with art critics outside Munich. Although his reputation in Munich itself remained undimmed throughout most of his career, his work and his reputation had fallen into a gradual neglect elsewhere in Germany and the rest of Europe by the second decade of the 20th century."

The Aryan Ideal

 

By 

Chad Crowley

Reinhard Heydrich was widely regarded, even by his adversaries, as one of the most intelligent and capable figures within the Third Reich. Hitler himself referred to him as “the man with the iron heart.” He mastered several languages, including French and English, and had begun studying Czech before his death. He possessed a genius-level IQ, reflected in his extraordinary ability to absorb, organize, and command vast systems of information with methodical precision and unwavering clarity.

Although the Sicherheitsdienst (SD) had already been established in name, it was Heydrich who built it into a modern instrument of statecraft. He did not merely oversee an office of internal surveillance; he redefined the practice of political intelligence in the twentieth century. He transformed the SD into a centralized and methodologically advanced apparatus of internal control, establishing a framework that prefigured the major intelligence services of the postwar world. Through coordinated surveillance, ideological supervision, psychological analysis, and systemic integration, he developed operational principles that would later be reflected in the structures of both Eastern and Western intelligence agencies. In many respects, the foundational logic of institutions such as the CIA and Mossad still echoes the architecture first constructed under his direction.

His upbringing reflected both discipline and refinement. Raised in a musical household, with a father who was a composer and opera singer, Heydrich became a classically trained violinist of near-professional caliber. Music was not a casual pastime but a serious and cultivated pursuit; for a time, he even considered a career in it before choosing the military path. Alongside this, he developed into a master fencer of Olympic-level skill, known for his speed, precision, and aggression. He was widely regarded as one of the finest swordsmen in the SS and was later appointed president of the National Socialist Reich Fencing Association.

This combination of intellectual brilliance, cultural cultivation, and martial discipline defined his early military career. He joined the German Navy at eighteen and rose rapidly through the ranks. His dismissal, the result of a personal scandal involving a noblewoman, left a lasting mark on his sense of honor and personal conduct, yet it also propelled him toward the SS, where he would ascend even further.

Such was the threat he posed that the British government, in coordination with anti-National Socialist Czechoslovak operatives, undertook a covert mission known as Operation Anthropoid, conceived for the express purpose of eliminating him. It was among the very few Allied operations directed not at an army, installation, or infrastructure, but at a single man. His death was not the outcome of battlefield engagement, but the result of a calculated act of removal, carried out in recognition of the magnitude of his strategic influence.

He was not a clown, nor a brute, nor a sociopath, and certainly not a goofball. He was a brilliant, disciplined, and formidable man whose influence reshaped the machinery of modern power. That is what made him so respected, and to his enemies, so feared.

SEE ALSO:

Knight of The Black Teutonic Order

The Arch of Titus

 

The Arch rises with its only fornix (archway) at the point where the visitors from the Roman Forum go up to the Palatine Hill. It was erected in honor of Titus Vespasian Augustus (79-81 AD), second emperor of the Flavian dynasty, as a spectacular gateway to the Imperial Palaces.

It is identified with certainty by the legible inscription on the attic, on the side facing the Colosseum, which preserves the original dedication (CIL VI, 945): “Senatus / Populusque Romanus / divo Tito divi Vespasiani f(ilio) / Vespasian Augustus” (The Senate and People of Rome in honor of the divine Titus, son of the divine Vespasian, Vespasian Augustus).

The attribute “divus” referring to Titus, suggests that he was already deified, and therefore deceased, when the text was engraved. The construction of the arch, therefore, is thought to be after 81 AD, probably to be placed in the early years of the reign of Domitian (81-96 AD), who did so much to ensure that his brother was deified. The reliefs carved on marble show off the success of the Jewish War, concluded by Titus, together with his father Vespasian, in 71 AD: in the small frieze under the attic, which was originally intended to go all the way around, the triumphal procession is depicted; the panel affixed on the South pylon shows the procession’s passage through the Triumphal Gate of the Forum Boarium, where the ceremony began, with the exhibition of the rich spoils brought to Rome, including the seven-branched candelabra (the menorah); the imperial quadriga with Titus crowned by Victory is depicted on the opposite North pylon.

Despite the references to historical facts, the monument never had a triumphal function; another arch, dedicated to the emperor but erected in the curved side of the Circus Maximus, performed this function. Rather, the subject of debate among scholars is whether, provided at the top with a spacious hollow room, it could have housed the temporary burial of Titus, whose apotheosis is carved in the center of the vault below as a flight over the back of an eagle towards the sky.

In the Middle Ages, the Arch was incorporated into the fortress of the powerful Frangipane family and later annexed to the Olivetan monastery complex. Thus, we often see it depicted in the drawings and paintings of artists and travellers of all times.

The first demolitions of the post-ancient additions that began in the 15th century were followed in the 1820s by a radical restoration by architect Giuseppe Valadier (1762-1839), when the structure, disassembled piece by piece and totally freed, was reassembled and integrated with travertine in the missing parts, taking on its current appearance. The inscription visible on the attic, in bronze letters, on the side facing the Roman Forum, dates back to this period and, in particular, to the pontificate of Pius VII (1800-1823), who wanted to commemorate this important restoration work, marking a milestone for the conservation practices of ancient monuments.

SOURCE: Parco Archeologico Del Colosseo

Axis of Resistance

 

"We must give a strong response to the terrorist Zionist regime. We will show the Zionists no mercy."

21 Years of Silence....

 

29th of May 1453 - The Fall of Constantinople

 

By Jonathan North

Early in the morning of Tuesday, May 29, 1453, they came swarming like hungry wolves over the plain between the Turkish palisades and the battered walls of Byzantium. Thousands upon thousands of wild and ferocious men rushed through the darkness upon the exhausted defenders. Scimitars glistened in the flickering light of torches. Monotonous drums, blaring trumpets, and clashing cymbals urged them on with a frenzied beat. Across the besieged city, bells tolled dolefully as exhausted defenders prepared to make another supreme effort, while women and children sought sanctuary in churches and behind bolted doors. But on came the Turks, their shouts audible, their approach like the rushing of a wave. The spectacle was magnificent and terrifying. The Sultan’s army was storming Constantinople.

The first wave of the ferocious assault was soon crashing into the city’s defenses. Bashi-Bazouks, drawn from all over the Ottoman Empire, were desperate for plunder and frustrated by weeks of fruitless siege. They showed astounding energy and valor as they surged beneath the walls, raising ladders, cheering, cursing, baying for blood. The chain-mail-clad Greek and Italian defenders, fighting for their lives, sent stones hurtling down into the warriors below or picked off Turks with crossbow bolts. For “an hour the savagery continued. Ladders were raised only to be sent crashing down into the jostling throng. Turks turned to run, only to find a cordon of Imperial officers cutting down those who attempted to flee. Most fought with a frenzy the defenders were astonished to behold until, finally, the Sultan relented and the first wild wave turned away from the walls and ran back to the Ottoman camp.

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Bridge To The Gods

" If he's going to become the man he was born to be, Richard Wodenson is going to need some help from the gods."

Protest Against Decadence

 

On this day, May 21, 2013, Dominique Venner chose to end his life by committing suicide in the Notre Dame Cathedral in Paris, that his final act too might contribute to awakening the European peoples. In a letter sent to his colleagues at Radio Courtoisie, he characterizes his suicide as a rebellion “against pervasive individual desires that destroy the anchors of our identity, particularly the family, the intimate base of our multi-millennial society.”

Dominique Venner (16/4/1935 – 21/5/2013) French historian, journalist and essayist, member of the Organisation armée secrète and later founder of Europe-Action.

His principal historical works were: Baltikum (1974), Le Blanc Soleil des vaincus (The White Sun of the Vanquished) (1975), Le Cœur rebelle (The Rebel Heart) (1994), Gettysburg (1995), Les Blancs et les Rouges (The Whites and the Reds) (1997), Histoire de la Collaboration (History of the Collaboration) (2000) and Histoire du terrorisme (History of Terrorism) (2002). His Histoire de l’Armée rouge (History of the Red Army) won the Prix Broquette-Gonin of history awarded by the Académie française in 1981.

In 1995, and with the advice of his friend François de Grossouvre, Venner published Histoire critique de la Résistance (Critical History of the Resistance).

In 2002, Venner wrote Histoire et tradition des Européens (History and Tradition of the Europeans), in which he set out what he believed to be the common cultural bases of European civilisation, and outlined his theory of “traditionalism” (a concept that, inter alia, assesses the specificities of each society and civilisation).

Venner served as editor in chief of the revue Enquête sur l’histoire (Study of History, or Historical Inquest) until its dissolution in the late 1990s. In 2002, he created La Nouvelle Revue d’Histoire (The New Historical Revue, temporarily renamed the NRH in 2006), a bimonthly magazine devoted to historical topics.

Shortly after his death was reported, a number of  personalities paid tribute to Venner and commended his public suicide. Marine Le Pen issued a tweet: "All our respect to Dominique Venner, whose final gesture, eminently political, was to try to awaken the people of France." Bruno Gollnisch described him as an "extremely brilliant intellectual" whose death was "a protest against the decadence of our society."

© 2022 P-S Lindblom

9th of May 1945 - The Last Report of Free Europe

 

FROM THE GRAND ADMIRAL'S HEADQUARTERS, May 9-The High Command of the Armed Forces announces:

In East Prussia - German divisions even yesterday gallantly defended to the very last the Vistula mouth and the western part of the Frisches Nehrung. The Seventh Division distinguished itself particularly in this fighting. To their Commander in Chief, General of Tank Troops von Saucken, were awarded diamonds to the Oak Leaves with swords to the Knight's Cross of the Iron Cross in recognition of the exemplary gallantry of his soldiers.

As an advanced bulwark, our armies in Courland [Latvia], under the well-proved command of Colonel General Guenther, tied down superior Soviet rifle and armored formations through many months and acquired eternal glory in six great battles. They refused any premature surrender. Only the wounded, and later numerous children, were transported in full order by aircraft that still left for the west. Staffs and officers remained with their troops.

At midnight all fighting and all movements were suspended on the German side, under the conditions that had been signed.

The defenders of Breslau, who resisted Soviet attacks for more than two months, succumbed to enemy superiority in the last hour after a heroic struggle.

On the Southeast and East Fronts, from Fiume to Brno [Bruenn] to the Elbe near Dresden, all the higher military authorities have received the order to cease fire.

A Czech rising is taking place in the whole of Bohemia and Moravia and may threaten the execution of the capitulation conditions as well as communications in that area.

The High Command of the Armed-Forces so far has not received any reports regarding the situation of the army groups Loehr, Rendulic and Schoerner.

Far from home, the defenders of the Atlantic bases, our forces in Norway and garrisons of the Aegean Islands have maintained the military honor of the German soldier in obedience and discipline.

Since midnight all weapons have been silent on all fronts on orders of the Grand Admiral, and the armed forces have ceased the fighting, which has now become hopeless, thus ending a heroic struggle that lasted almost six years. This struggle brought us great victories. But also heavy defeats. In the end the German Wehrmacht succumbed with honor to enormous superiority.

Loyal to his oath, the German soldier's performance in a supreme effort for his people can never be forgotten. Up to the last moment the homeland had supported him with all its strength in an effort entailing the heaviest sacrifices. The unique performance of the front and homeland will find a final appraisal in the later, just judgment of history.

The enemy, too, will not deny his tribute of respect to the performance and sacrifices of German soldiers on land, at sea and in the air. Every soldier, therefore, may lay aside his weapon proud and erect and set to work in these gravest hours of our history with courage and confidence to safeguard the undying life of our people.

In this grave hour the Wehrmacht remembers its comrades who have died in battle. The dead impose upon us an obligation of unconditional loyalty, obedience and discipline toward the Fatherland, which is bleeding from countless wounds.

The Eternal War

 

 

The eternal war is between this and greatness, between the matriarchy of Çatalhöyük and the conquest of Perseus

The West began when the seated woman was slain, when the heirs of Perseus built the great city-states of Greece and, eventually, Rome

Now we're reverting back to the hell of Çatalhöyük, and the oppressive matriarchy it represents

Will Tanner - The American Tribune