Sunday, December 15, 2024

The Last Emperor

 


In the Katholikon of the Old Monastery of Taxiarches in Aegialia, just 15 km from Aigio, two layers of frescoes of high artistic quality from the late Byzantine period are preserved, reflecting the aesthetic trends of Constantinople. During their conservation work, archaeologist Dr. Anastasia Koumousi, Director of the Ephorate of Antiquities of Achaia, discovered in the second layer of frescoes—which, based on stylistic criteria, is securely dated to the mid-15th century—the unique portrait of the last Byzantine emperor, Constantine XI Palaiologos. 

Unlike idealized representations, this portrait authentically captures the physical features of Constantine XI. He is depicted as a mature man with a slender face, radiating calmness and nobility.

The artist behind the fresco likely came from Mystras, where Constantine XI lived for five years as “Despot”—the title for a regional governor—before ascending to the throne. The portrait is linked to the generous patronage of the monastery by Constantine’s brothers, which is well-documented in historical records. This donation followed the resolution of their civil war (1449-1450), mediated by Constantine, as noted by the historian Laonikos Chalkokondyles. 

The Ministry of Culture’s announcement identifies the figure as Constantine XI Palaiologos, the brother of the monastery’s patrons, the Despots of Morea, Demetrios and Thomas. 

This fresco represents the last known portrait of a Byzantine emperor in monumental painting and the only contemporary depiction of Constantine XI during his reign (January 6, 1449 – May 29, 1453).


SOURCE: Ministry of Culture/The National Herald

Sunday, December 8, 2024

Imperium Gallery


 We are a non-profit historical art museum dedicated to the study of modern nationalism and the preservation of its cultural artifacts. Through the medium of art, we hope to educate our patrons on the history and philosophy behind early 20th century revolutionary nationalism.

Fascism can be understood as the natural evolution of romantic nationalism, identifying and embracing the unique cultural characteristics responsible for bestowing a nation with its sense of identity. The ideology of Fascism is not only malleable, but fundamentally adaptive, taking on nation-specific forms rather than being a universally applicable and generic political theory. Whether it be traditional Italian Fascism, German National Socialism or Japanese State Shintoism, each nation’s idiosyncratic conception of Fascism is advised by their respective indigenous belief systems, folklore and history to be in consonance with the local polity and to invigorate these cultural traits. Reflecting this ethos, ethnospecific symbolism feature prominently in the Fascist aesthetic. Distilled of the perceived decadent impurities of postmodernism, its art offers an unclouded view into a nation’s soul and the spiritual essence of its people.

www.imperiumgallery.com





Thursday, December 5, 2024

Germania

 


Spring 1943. 

A selection of portraits of soldiers of the 9th SS Panzer Division "Germania"  

made by Ernst Baumann




Tuesday, December 3, 2024

The Funeral of Shelley



"The Funeral of Shelley" by Louis Édouard Fournier (1889)
 Walker Art Gallery, Liverpool, United Kingdom

The Story Behind the Artwork
This 1889 painting by Louis Édouard Fournier captures the dramatic moment of Percy Bysshe Shelley’s cremation on the Italian coast. Shelley, one of the great Romantic poets, tragically drowned at the age of 29 when his schooner, the Don Juan, sank during a storm in 1822. His remains washed ashore near Viareggio, Italy, where quarantine laws dictated that his body be cremated.

The scene is not historically accurate but is rich with symbolism. Lord Byron, Mary Shelley (Shelley's wife), and Leigh Hunt are depicted mourning, though records indicate Mary Shelley was not present. Fournier paints the desolate beach and pyre as a solemn tribute to Shelley’s Romantic ideals—emphasizing his life as fleeting but profoundly beautiful, like the poetry he left behind.

Source: Stories Behind Art

Friday, November 22, 2024

The Voice of Truth - Proud and Indomitable!

URSULA HAVERBECK
 8/11/1928 - 20/11/2024

Tuesday, November 19, 2024

Words as Lightnings

 

“How can you be a shining beacon, if the fire does not burn within you!"

"We can only make of ourselves what God has put in us."

"Forming a people out of the masses and a state out of the people has always been the deepest meaning of true politics"

“The revolutionary type of man stands at the beginning of an upheaval, not some social emergency. That comes with it."

“God helps the brave and beats the coward. It would be a strange God that stood on the side of the coward."

“Every man of stature has a mission somewhere, sometime”

“We are all sick. Only fighting the rot can save us once more”

“The gradually collapsing state of history in its downfall once again produces the finest blossoms of its dying creative power.”


Taken from:

JOSEPH GOEBBELS - Michael : A German Destiny in Diary Form


Sunday, November 17, 2024

The Timeless Art of Hellas

 



The sculptural adornment of the Temple of Aphaia marks precisely the boundary between two important periods in Greek art. The west pediment is still late archaic, whereas the east pediment is early classical. The temple is a Doric, peripteral hexastyle with twelve columns on the flanks. The two-sloped roof had terracotta roof tiles of the Corinthian type and a single row of marble tiles with palmette-shaped antefixes along the edges. The central, palmette-shaped acroterion, which was framed by two korai, and the four sphinxes on the corners of the roof were also of marble. The pedimental sculptures and the roof acroteria were of Parian marble and painted. The pediments depicted two mythical combats before Troy in the presence of Athena; heroes from Aegina participated in both. The temple remained visible and imposing for many centuries after its abandonment. The architect C. R. Cocherell and his friend baron von Hallerstein explored the site in 1811 and removed the pedimental sculptures to Italy. In 1928 the sculptures were taken to Munich, where they remain.

Source: diazoma.gr

SEE ALSO : 

The Dying Warrior and The Fallen Comrades


Thursday, November 7, 2024

A Faraway Image of Youth

 

“Was my childhood sad for some particular reason? The fact, for instance, that I grew up amid great solitude? Lonely fields, a solitary manor in their midst... In winter, a boundless snowy sea; in summer, a sea of grainfields, grass, and flowers. And the eternal quietude of those fields ... I knew all that, even then. The depth of the summer evening sky, the melancholy vista of the fields betokened something else that seemed to exist apart from them, called forth a dream and a yearning after something I lacked, moved me with an incomprehensible love and tenderness, I knew not for whom or for what...”

IVAN BUNIN - The Life of Arseniev




Wednesday, October 23, 2024

Wenn Runen und Totenkopf Führen

 



Out Now on Totenkopf Propaganda Productions



For more info and distributors contact the label at:
totenkopfpropaganda at hotmail dot com


Sunday, October 20, 2024

Cimmeria

 



"This poem evokes a desolate and somber landscape of a land called Cimmeria. The imagery of dark woods, heavy clouds, and silent streams creates a sense of oppressive gloom. The repetition of "hill on hill" and "slope beyond slope" emphasizes the vastness and monotony of the land. The lack of light and the presence of brooding shadows suggest a realm of darkness and mystery. This poem differs from Howard's other works, such as the Conan stories, in its absence of adventure and heroism. Instead, it explores the themes of memory, loss, and the search for identity in a desolate world. Cimmeria stands as a symbol of the poet's own inner struggles and his yearning for a connection beyond the confines of his solitary existence."


Saturday, October 19, 2024

Deification of War

 


Marble metope from Parthenon (447-438 BC), battle between Centaurs and Lapiths. Violence is a favourite theme of ancient Greek artists. 

Reared on the myth of the Trojan war and experiencing the reality of wars with Persia and between Greek cities, classical artists found new ways to show conflict. 

This human fighting a centaur, carved for Parthenon in Athens, is astonishingly real in its detail and dynamic energy.

Source: Napoleon Thomson

Monday, September 30, 2024

Musica Medievale

 


The best, and problably only, YouTube Channel about Medieval Music

http://youtube.com/musicamedievale


SEE ALSO:

Musick of The Mediaeval and Renaissance

Life in the Middle Ages



Sunday, September 22, 2024

Iliade's Call to Action

 

"Europe stands on the edge of the abyss: demographically overwhelmed and pathetically surrendered to those who wish to erase its history and culture. At this critical juncture, young Europeans are rising by joining the Iliade Institute. What is their worldview? What actions do they advocate? This manifesto is both a doctrinal summary and a practical handbook for a general audience. Everybody can join the fight to preserve our identity and civilisation. It is up to each individual to stay true to the duties towards his own. Deeds follow words."




"Let us stop seeing our age as one of slow decline and any upturn as a mere respite in our civilisation’s race towards death. What we are experiencing is a time of transition that is for us to make fruitful. It is an interregnum, a period of incubating new forms that will revitalise our ancestral heritage."

— Guardians of Heritage: The Iliade Institute’s Call to Action

Book Available from:

https://www.amazon.com/dp/1915755751




Wednesday, September 4, 2024

LSSAH in Action!

 


High quality frontline footage from the legendary Leibstandarte SS ADOLF HITLER in action. Covering three campaigns with over of 10.000 km

With eng subs.


Sunday, September 1, 2024

The Spirit of Hernando Cortes

 


"He was a knight-errant, in the literal sense of the word. Of all the band of adventurous cavaliers whom Spain, in the sixteenth century, sent forth on the career of discovery and conquest, there was none more deeply filled with the spirit of romantic enterprise than Hernando Cortés."

William H. Prescott - History of the Conquest of Mexico 



Sunday, August 25, 2024

Hellenic Mythical References to the Music of DEAD CAN DANCE

 

Some of the references to the myths of the Hellenic antiquity to the music of this legendary band


"Persephone (The Gathering of Flowers)" taken from : Within the Realm of a Dying Sun (1993)


"The Garden of Zephirus" taken from : Aion (1990)


"Ariadne" taken from : Into The Labyrinth (1993)




Monday, August 19, 2024

Adieu Chevalier


There is no solitude greater than that of the samurai unless it be that of a tiger in the jungle... perhaps...

Book of Bushido

Saturday, August 10, 2024

Words of Fire

 

9th of August BC, Pharsalus Hellas

GAIUS JULIUS CAESAR pre-battle speech to:

the VI legion (later called Ferrata) veterans of his Gallic Wars

the VII legion (later called Claudia Pia Fidelis) veterans of his Gallic Wars

the VIII legion (later called Augusta) veterans of his Gallic Wars

the IX legion (later called Hispania) veterans of his Gallic Wars

the X legion (Equestris, later called Gemina) veterans of his Gallic Wars

the XI legion (later called Paterna and Claudia Pia Fidelis, the same title as the seventh) veterans of his Gallic Wars

the XII legion (later called Fulminata) veterans of his Gallic Wars

the XIII legion (later also called Gemina, the 'twin' to the tenth) veterans of his Gallic Wars



"My friends, we have already overcome our most formidable enemies, and are now about to encounter not hunger and want, but men. This day will decide everything. Remember what you promised me at Dyrrhachium. Remember how you swore to each other in my presence that you would never leave the field except as conquerors. 

These men, fellow soldiers, are the same that we met at the Pillars of Hercules, the same that we drove out of Italy. They are the same who sought to disband us without honours, without a triumph, without rewards, after the toils and struggles of ten years, after we had finished those great wars, after innumerable victories, and after we had added 400 nations in Spain, Gaul, and Britain to our country's sway. 

I have not been able to prevail upon them by offering fair terms, nor to win them by benefits. You know that I dismissed them unharmed, hoping that we should obtain justice from them. Recall all these facts to your minds to-day, and if you have had any experience of mere call also my care for you, my good faith, and the generosity of my gifts to you. Nor is it difficult for hardy and veteran soldiers to overcome new recruits who are without experience in war, and who, moreover, like boys, spurn the rules of discipline and of obedience to their commander. 

I learned that he [Pompey] was afraid and unwilling to come to an engagement. His star has already passed its zenith; he has become slow and hesitating in all his acts, and no longer commands, but obeys the orders of others. I say these things of his Italian forces only. As for his allies, do not think about them, pay no attention to them, do not fight with them at all. They are Syrian, Phrygian, and Lydian slaves, always ready for flight or servitude. I know very well, and you will presently see, that Pompey himself will not assign them any place in his line of battle. Give your attention to the Italians only, even though these allies are running around you like dogs trying to frighten you. When you have put the enemy to flight let us spare the Italians as being our own kindred, but slaughter the allies in order to strike terror into the others. 

Before all else, in order that I might know that you are mindful of your promise to choose victory or death, throw down the walls of your camp as you go out to battle and fill up the ditch,so that we may have no place of refuge if we do not conquer, and so that the enemy may see that we have no camp and know that we are compelled to occupy theirs."

GAIUS JULIUS CAESAR


Sunday, August 4, 2024

Notes on the "Culture" and "Civilization" of Hindus

 


"The Aryans in India were too late in establishing their colour-based caste system, so that today the culture of Hindoo is probably the most thoroughly repulsive on our planet. The more one learns about India, the more one wants to vomit. Aside from a few professional minds, the Indian people represent such an abyss of degeneracy that extirpation & fumigation would seem to be about the only way to make Hindoostan fit for decent people to inhabit"

Howard Phillip Lovecraft



Friday, July 26, 2024

Aristocratic Radicalism & Counter-Enlightenment Tunes

 



"Travel is a good thing; it stimulates the imagination. Everything else is
a snare and a delusion. Our own Journey is entirely imaginative. Therein lies its strength.
It leads from life to death. Men, beasts, cities, everything in it is imaginary. Its a novel, only a made-up story. The dictionary say so and it's never wrong.
Besides, everyone can go and do likewise. Shut your eyes, that's all that is necessary.
There you have life seen from the other side."

Louis-Ferdinand Céline


Friday, July 19, 2024

Beethoven's Hellenic Awakening

 



THE COMPOSERS

The Ruins of Athens (Die Ruinen von Athen) written in 1811 by Ludwig van Beethoven. The music was written to accompany the play of the same name by August von Kotzebue, for the dedication of the new Deutsches Theater Pest [de] in Pest, Hungary.


THE CONCEPT

The goddess Athena, awakening from a thousand year sleep (No. 2), overhears a Greek couple lamenting foreign occupation (Duet, No. 3). She is deeply distressed at the ruined state of her city, a part of the Ottoman Empire (Nos. 4 & 5). Led by the herald Hermes, Athena joins Emperor Franz I at the opening of the theatre in Pest, where they assist at a triumph of the muses Thalia and Melpomene. Between their two busts, Zeus erects another of Franz, and Athena crowns it. The Festspiel ends with a chorus pledging renewed ancient Hungarian loyalty

Source : Wikipedia



Wednesday, July 17, 2024

The Etruscan Gate

 


"Returning with the Captives" at the Etruscan Gate (4th Century BC); Volterra - Italy. 

Oil on Panel (1884) by Alexander Svedomsky (1848-1911).

Volterra is a village built on a hill between the Era and Cecina valleys. With its double walls, both Etruscan and from the 13th Century, it's a medieval-looking city, where you can still enjoy the atmosphere of a historic village.

Volterra (Veláthri), was one of the main city-states of ancient Etruria and during the Middle Ages, it was the seat of an important episcopal lordship. The village has been known for centuries for the manufacture of alabaster whose artefacts are some of the most important products of Italian craftsmanship. Alabaster is a soft stone, much easier to work than marble, which is far harder. This malleability makes it perfect for carving small sculptures and richly detailed ornamental motifs. Historically, alabaster was used to carve the human face.

More than 2000 years have passed since Etruscans first began carving alabaster, but it is still crafted today in the hilltop town of Volterra. Although it no longer represents a significant part of the local economy, it is nonetheless a fundamental part of the town’s culture. Only a few authentic workshops are left in the old town centre, but these artisans are not only carrying on this old craft; they are also making it popular again.

Porta all’Arco - this remarkable example of architectural abilities of the ancient inhabitants of Volterra has witnessed the city’s history throughout the millennia.

Porta all’Arco gate is one of main Etruscan architectural monuments in Volterra. The gate, opening on the South side of the walls, is characterised by an arch made out of ashlars and decorated by three heads made out of stone. One can immediately notice that it was built with different materials and techniques, which shows that it has been restructured throughout the centuries. The jambs are made out of big blocks of sandstone, locally called “Panchino”. The three heads and the arch are made out of two different types of stone: the blocks of the arch are “tufo di Pignano”, a calcareous rock extracted in a quarry not far from Volterra, whereas the heads are carved into selagite, a rock extracted in area of Montecatini Val di Cecina.

Not only does the gate have an unusual structure, but the meaning behind the three heads on the arch is unknown, which adds an element of mystery to the monument. The most reliable hypothesis is that the heads represent the gods protecting the city of Volterra. An urn in the Guarnacci Museum dating back to 1st Century BC portraying a siege includes an image of the gate with its three heads, which probably makes it the oldest representation that we have of the Porta all’Arco.





Saturday, July 13, 2024

Dante as Ideal


 "Dante embodies every national ideal"



"Today, we consider the Dante Alighieri [Society] as one of our most cherished and most glorious institutions; but if today its work is less solitary than it was yesterday, its task is broader."


THE POSTERS: Made by Dante Alighieri Society during the 1930s
THE QUOTES : By Benito Mussolini

Tuesday, July 9, 2024

Our Journey to the Kyffhäuserreich

 


One of our upcoming releases will be a return to the past. After the release of “Asgardsrei” in 1999, Absurd wanted to create a split release with Heldentum: “Kyffhäuserreich.” With this, we wanted to express our connection to our homeland, the mythical Kyffhäuser mountain range in northern Thuringia. According to legend, Emperor Barbarossa, an incarnation of Wotan, sleeps in an underground castle while ravens circle the mountain. Every hundred years, he sends a dwarf to check if the ravens are still there. Only when an eagle replaces the ravens will the Emperor awaken to liberate and unite the realm.

Based on this legend, DMD wrote five songs, but they were not recorded at the time. JFN had to go into exile at the end of 1999, and although DMD promised Wolf with a handshake the following year that “Kyffhäuserreich” would still happen (Heldentum recorded their songs the same year, which were released twenty years later as “Das Vermächtnis”), “Kyffhäuserreich” has remained a dream until now. This will soon change!

All five songs for “Kyffhäuserreich,” along with two songs intended for “Blutgericht” but not included on the album, will finally be heard 25 years after their creation and the idea for this release. This will also close this chapter in Absurd’s band history. The Emperor will awaken, and the Reich will return!


Zu Rotbart stehen wir in Treu’ und allezeit bereit,

dem Reiche haben wir uns einst in Stahl und Blut geweiht.


Der Kaiser in dem Berge

Blutweihe

Das Schwert

Der erste Schnee

Tod durch das Schwert

(Bonus) Volksaufstand

(Bonus) Im Glanz des Sonnenrades


SOURCE: www.hordeabsurd.com




Sunday, July 7, 2024

Julius Evola : My Encounter With Codreanu



Among the various leaders of the movements for national reconstruction that emerged during the interwar period, which I had the opportunity to meet, I remember Corneliu Codreanu, the leader of the Romanian Iron Guard, as one of the purest, most righteous, and noblest figures. It was in the spring of 1936 that I met him in Bucharest during a study trip I had undertaken to various European countries at the time.

We enter the building and reach the first floor. Here we are met by a tall and slender young man in casual attire. His open face immediately gives an impression of nobleness, strength and loyalty.This man is Corneliu Codreanu, the leader of the Iron Guard. He is a distinctly Aryo-Roman type—like a contemporary embodiment of the ancient Aryo-Italic world.



While his grey-blue eyes convey the harshness and
cool will of a leader, on the whole his contour is marked by a peculiar note of
idealism, inwardness, strength, and human understanding.
His manner of speech is also characteristic: before answering, it is as if he became absorbed
in himself and removed; then suddenly he starts speaking, expressing himself
with almost geometrical precision in clearly articulated and well-constructed
sentences.

JULIUS EVOLA


Monday, July 1, 2024

The Maiden and Death as Archetypes in European Tradition & Music

 


Nikos Skalkottas’s (1904–1949) first ballet score, The Maiden and Death, was written in about 1938. It is one of his most important tonal works,its plot being derived from a well-known folk-poem that is included in Nikolaos Politis’s collection entitled Eklogai apo ta tragoudia tou ellinikou laou (Selection from the Greek folk’s songs). Antiochos Evangelatos’s (1903–1981) homonymous symphonic ballad, written three years later, uses verses from the same folk-poem. While Evangelatos’s work is faithful to the texture of the text and his music can, consequently, be heard as an elaborated structure of Greek demotic song, Skalkottas uses the first part of the verse (up to the maiden’s death) as an introduction, to be followed by a freer version of the plot in which love and death find their exuberant manifestation through music in the very romantic sense of the words.




The juxtaposition of a maiden (representing youth and the upsurge of life) with death (representing man’s unavoidable destiny) is an idea of central importance in both works under examination.
The death of a beautiful woman, according to Edgar Alan Poe (1809–1849), is the most poetic subject in the world. 
An overview of the aesthetics of death and, more specifically, of a youth’s juxtaposition with death, from ancient Greece onwards, would include important stories as is the case of Iphigenia’s sacrifice, a virgin who sacrifices herself in order to bring victory to the Greeks who were fighting against the Troyens, of Antigone’s self-denial who ignored the royal command of King Kreon by buring the dead body of her brother Polynikis in accordance with divine law, and of Persephone’s death for the sake of nature’s rebirth



In European art tradition, romanticism’s aesthetics focus on the notion of “death” as an expression of sublime ideas. 
The poet Novalis (Georg Philipp Friedrich von Hardenberg, 1772–1801) identifies the first experience of love with death. The first kiss is always a kiss of death and death is a more powerful union of two lovers. For the romantics, sexual differences and the reproduction of a dualistic nature (man-woman) are considered not only as a primal source of life but also as a passage to death.




The notion of the “aestheticization of death” is very important for manyLieder of Schubert as, for example, for An den Tod (1817), Der Jünglingund der Tod (1817), Der Tod und das Mädchen (1817), Todesmusik (1822), Todtenopfer (1814), Winterreise (1827), and so forth. The subjects of two of those Lieder – Der Jüngling und der Tod (poetry by Josef von Spaun, 1817) and Der Tod und das Mädchen (poetry by Matthias Claudius, 1817) – are based onthe juxtaposition between a maiden and death. In Der Tod und das Mädchen, in particular, death is treated as a welcomed refuge away from the turmoils and torments of life. The juxtaposition is an extreme one since the maiden representsthe peak of life while death the unavoidable fate of human existence. Through their symbolic juxtaposition death is revealed as an inviting to eternal rest. Both these Lieder, articulate the youth’s Weltschmerz through an idealization of femininity (“fair” and tender) and a friendly appearance of death.




Another characteristic example of a similar symbolism as above, in romantic music, is Brunnhilde’s sacrifice, or to put it differently, the “spirit” of her sacrifice, in Richard Wagner’s Der Ring des Nibelungen (1874); this “spirit” can be interpreted as acting as a healer for decadence (which iscaused by the thirst for power of the owner of the ring). Death, as the sublime union of two souls (male and female) in one whole, finds its most romantic manifestation in Isolde’s death, in Richard Wagner’s Tristan und Isolde (1959). At the end of the scene, the orchestra replaces Isolde’s voice in order to repeat the culminating point of the two lovers’ duet (second Act)articulating the wholeness of time (the real “present”, which according to Wagner and Hegel is pure memory); Isolde overcomes this notion through her death. The overcoming of time, death, in its very Hegelian essence, ismanifested musically and coincides with the eternal union of Tristan and Isolde in one “whole”. The idea of “death” is also articulated in narrations of epic tradition,that is, of narrations of heroic actions which acquire their meaning within apeople’s community. An individual’s death, in stories of heroic deeds, validates the idea of “collectivity”, or “nation”; moreover, the hero’s coming to termswith death articulates, at a deaper level, the idea of nation’s diachronicity


Music Performed by ICELANDIC SYMPHONY ORCHSTRA
Article by ANASTASIA SIOPSI
(You can read it in its entirety HERE )




Monday, June 24, 2024

Life of a Revolutionary - The Story of Franco Freda

 


Who is FRANCO FREDA? (A brief profile of one of the most valuable thinkers and authors of the post-war Italian Far-right)

By

CIMOSCO





Of Irpinian origins, Franco Freda was born in Padua, on February 11, 1941. Attentive to politics since high school, he presided over the “Saint Mark” FUAN  (The Italian Social Movement’s University students organization),later rendering it autonomous from that party - which he considered not ‘in order’


After graduating in Law, he presented to Professor Enrico Opocher a dissertation titled “Plato: State according to Justice”.



In 1963 he formed the Ar Group. The aforementioned fellowship catched the news’ eyes by promoting a pamphlet that summarized some revisionist theories on the “Holocaust” and pushed the communist senator Terracini to formulate a question addressed to the Interior and Justice Ministers


(where he mentioned “a foul antisemitic booklet” and asked what measures had been taken to “cauterize the fetid and purulent wound before it broadens its sphere of action“)




Also in 1963, Freda founded the Ar Editions, which opened their catalog with Arthur de Gobineau’s Essay on the Inequality of the Human Races. In 1969, he published “The disintegration of the system”, a notorious contrast writing of his.



The Ar Editions – the catalog of which gathers hundreds of titles and nowadays branches into twenty series – bring together the classics of Anti-Humanistic, Anti-Democratic, Anti-modern thought, from de Gobineau, to Nietzsche, Spengler, Evola.



Towards the end of the 1970’s, during his imprisonment, Freda inaugurated the ‘Paganitas’ series, which includes the most significant voices of non-Christianity, from Celsus (the first Italian translation of the True Word is published in 1978 and is edited by him),to Emperor Julian, to Porphyry, to Pitagoras, up to contemporary authors.



From 1971, the judiciary trial for the Piazza Fontana massacre saw the Editor among the main defendants, up until 1987, when the Court of Cassation established his non-responsibility for the massacre, confirming the two acquittal appeal sentences of Catanzaro and Bari.



In 1982, he was definitely sentenced to fifteen years of jail for subversive association.



In 1989, he founded the Political-Cultural movement “National Front” and published “The Anti Bancor” (a periodical journal of economic and financial studies) along with numerous volumes dedicated to the racial question tied to the migratory problems.


The National Front expressed its prescient apprehension facing the monstrosities of the design of a multiethnic society and the inhumanity of globalization. It proposed itself as a school, more than anything else, as a place for political education. But some judges believed Freda’s words to be seditious and harmful (“ontologically criminal?” asked his defender, the lawyer Carlo Taormina, astounded,  to the Court) – and mocked his prediction of racial conflicts.

Freda was sentenced to three years of jail and the National Front was disbanded by the cabinet, in 2000, on the basis given by the Mancino-Modigliani law against the founding of discriminatory organizations.



In 2004, Freda gave birth to a new Ar series, which hosts Friedrich Nietzsche’s texts with the original German parallel, beginning with “The Antichrist”.





Sunday, June 23, 2024

The War in The East - A Shield for Europe

 

June 22, 1941


By

 Führer of the German Reich

ADOLF HITLER

-

German people!

National Socialists!

After long months when I was forced to keep silent, despite heavy concerns, the time has come when I can finally speak openly.

When the German Reich received England’s declaration of war on 3 September 1939, the British attempted once again to frustrate any attempt to begin a consolidation, and thus a strengthening, of Europe by fighting the then strongest power on the Continent.

England formerly destroyed Spain through many wars.

For the same reason it waged its wars against Holland.

With the help of all of Europe it later fought France.



- BETRAYAL OF GERMANY -

And around the turn of the century, it began to encircle the German Reich and it began the World War in 1914.

Germany was defeated in 1918 only because of its inner disunity. The results were terrible. After first hypocritically declaring to be fighting only against the Kaiser and his regime, they began the systematic destruction of the German Reich after the German army had laid down its arms. As the prophecy of a French statesman, who had said that there were twenty million Germans too many, began to be fulfilled through starvation, disease, or emigration, the National Socialist movement began building the unity of the German people, thereby preparing the rebirth of the Reich.





- REBIRTH -

This new revival of our people from poverty, misery, and shameful contempt was a sign of a pure internal rebirth. England was not affected, much less threatened, by this. Nonetheless, it immediately renewed its hateful policy of encirclement against Germany. Both at home and abroad, we faced the plot we all know about between Jews and democrats, Bolshevists and reactionaries, all with the same goal: to prevent the establishment of a new people’s state, to plunge the Reich again into impotence and misery.

The hatred of this international world conspiracy was directed not only against us, but also against those peoples who also had been neglected by Fortune, who could earn their daily bread only through the hardest struggle. Italy and Japan above all, alongside Germany, were almost forbidden to enjoy their share of the wealth of the world. The alliance between these nations was, therefore, only an act of self-defense against a threatening, egotistical world coalition of wealth and power.

As early as 1936, according to the testimony of the American General Wood to a committee of the American House of Representatives, Churchill had said that Germany was becoming too strong again, and that it therefore had to be destroyed.

In summer 1939, England thought that the time had come to renew its attempts to destroy Germany by a policy of encirclement. Their method was to begin a campaign of lies. They declared that Germany threatened other peoples. They then provided an English guarantee of support and assistance, next, as in the World War, let them march against Germany.

Thus between May and August 1939, England succeeded in spreading the claim throughout the world that Germany directly threatened Lithuania, Estonia, Latvia, Finland, Bessarabia, and even the Ukraine. Some of these nations allowed themselves to be misled, accepting the promises of support that were offered, and thereby joined the new attempt to encircle Germany.

Under these circumstances, I believed that I was called by my conscience, and by the history of the German people, to assure not only these nations and their governments that these British accusations were untrue, but also to reassure the strongest power in the East through formal declarations that our interests did not conflict.



National Socialists!

You probably all felt that this was a bitter and difficult step for me. The German people have never had hostile feelings toward the peoples of Russia. During the last two decades, however, the Jewish-Bolshevist rulers in Moscow have attempted to set not only Germany, but all of Europe, aflame. Germany has never attempted to spread its National Socialist worldview to Russia. Rather, the Jewish-Bolshevist rulers in Moscow have constantly attempted to subject us and the other European peoples to their rule. They have attempted this not only intellectually, but above all through military means.

The results of their efforts, in every nation, were only chaos, misery, and starvation.

I, on the other hand, have tried for two decades to build a new socialist order in Germany, with a minimum of interference and without harming our productive capacity. This has not only eliminated unemployment, but also the profits of labor have flowed increasingly to working people.

The results of our policies are unique in all the world. Our economic and social reorganization has led to the systematic elimination of social and class barriers, with the goal of a true people’s community.

It was, therefore, difficult for me in August 1939 to send my minister to Moscow to attempt to work against Britain’s plans to encircle Germany. I did it only because of my sense of responsibility to the German people, above all in the hope of reaching a lasting understanding and perhaps avoiding the sacrifice that would otherwise be demanded of us.

With the exception of Lithuania, Germany declared that those areas and nations were outside Germany’s political interests. There was a special provision in the case that England succeeded in inciting Poland into war against Germany. But here, too, German claims were moderate, and in no relation to the accomplishments of German arms.

National Socialists!

The results of the treaty, which I sought in the interests of the German people, were particularly severe for Germans living in the affected nations.

Over half a million German people’s comrades — all of them small farmers, craftsmen, and workers — were forced, almost overnight, to leave their former homes to escape a new government that threatened them with vast misery, and sooner or later, with complete extermination (Ausrottung).

Even so, thousands of Germans disappeared! It was impossible to learn what had happened to them, or even where they were. More than 160 of them were men holding German citizenship.

I kept silent about all this, because I had to keep silent! My wish was for final agreement with this state, and if possible a lasting settlement.

But even during our march into Poland, in violation of the treaty, the Soviet rulers suddenly claimed Lithuania.

The German Reich never intended to occupy Lithuania, and never made any such demand on Lithuania. To the contrary, it turned down the request by the Lithuanian government to send German troops there, since that did not correspond to the goals of German policy.

Nonetheless, I accepted this new Russian demand. But that was only the beginning of ever new demands.

The victory on Poland, gained exclusively by German troops, gave me the occasion to extend a new offer of peace to the Western powers. It was rejected by the international and Jewish warmongers.

The reason was that England still hoped to mobilize a European coalition against Germany that would include the Balkans and Soviet Russia.

Those in London decided to send Ambassador Cripps to Moscow. He has clear orders to improve relations between England and Soviet Russia, and to develop them along lines England wanted. The English press reported on the progress of his mission, as long as they were not silent for tactical reasons.

The first results were evident in fall 1939 and spring 1940. Russia justified its attempts to subject not only Finland, but also the Baltic states, by the sudden false and absurd claim that it was protecting them from a foreign threat, or that it was acting to prevent that threat. Only Germany could have been meant. No other power could enter the Baltic Sea, or wage war there. I still had to remain silent. The rulers of the Kremlin continued.

Consistent with the so-called friendship treaty, Germany removed its troops far from its eastern border in spring 1940. Russian forces were already moving in, and in numbers that could only be seen as a clear threat to Germany.

According to a statement by Molotov, there were already 22 Russian divisions in the Baltic states in spring 1940.

Although the Russian government always claimed that the troops were there at the request of the people who lived there, their purpose could only be seen as a demonstration aimed at Germany.

As our soldiers attacked French-British forces in the west, the extent of the Russian advance on our eastern front grew ever more threatening.

In August 1940, I concluded that, given the increasing number of powerful Bolshevist divisions, it was no longer in the interests of the Reich to leave the eastern provinces, so often devastated by war, unprotected.

This, however, is exactly what the British and Soviets had hoped. The fact that so much of the German forces, in particular the air force, was tied down in the east made it impossible for the German leadership to bring a radical end to the war in the West.

This was the goal of both British and Soviet Russian policy. Both England and Soviet Russia wanted to prolong this war as long as possible in order to weaken all of Europe and plunge it into ever greater impotence.

Russia’s threatened attack on Rumania was intended not only to take over an important element in the economic life not only of Germany, but of Europe as whole, or at least to destroy it.

With boundless patience, the German Reich attempted after 1933 to win over the southeastern European states as trading partners. We, therefore, had the greatest possible interest in their domestic stability and order. Russia’s entrance into Rumania and Greece’s ties to England threatened to rapidly transform this area into a general battleground.

Despite our principles and customs, and despite the fact that the Rumanian government had brought on these troubles itself, I urgently advised them, for the sake of peace, to bow to Soviet extortion and cede Bessarabia.

The Rumanian government, however, believed that it could justify this step to its own people only if Germany and Italy in return guaranteed the security of its remaining territory. I did this with a heavy heart. When the German government gives a guarantee, it will stand by it. We are neither English nor Jewish.

I thus believed that I had saved peace at the last moment, even if at the cost of a heavy obligation. To reach a final resolution of these problems and to clarify Russian intentions toward the Reich, as well as under the pressure of steadily increasing mobilization along our eastern border, I invited Mr. Molotov to come to Berlin.



The Soviet foreign minister demanded further clarification from Germany on the following four questions:

Molotov’s first question:

Does Germany’s guarantee for Rumania in the event of an attack mean war with Russia in the event of an attack Soviet Russia?

My answer:

The German guarantee is broad and obligates us absolutely. Russia has never told us that it has any interest in Rumania outside Bessarabia. The occupation of northern Bukowina was already a violation of this assurance. I therefore do not believe that Russia could have any further claims on Rumania.

Molotov’s second question:

Russia feels itself threatened by Finland again. Russia is unwilling to tolerate this. Is Germany ready to provide no support for Finland, and above all to withdraw the German troops in Kirkenes?

My answer:

As in the past, Germany has no political interests in Finland. However, the German government cannot accept a new Russian war against the tiny Finnish people, particularly since we could never believe that Finland threatens Russia. However, we do not want war in the Baltic Sea.

Molotov’s third question:

Is Germany willing for Soviet Russia to provide a guarantee to Bulgaria, and to send Soviet-Russian troops to Bulgaria for this purpose — although he (Molotov) wished to say that they did not have the intention of removing the king.

My answer:

Bulgaria is a sovereign state, and I did not know that, just as Rumania had asked for a German guarantee, Bulgaria has asked for one from Soviet Russia. I would also have to discuss the matter with my allies.

Molotov’s fourth question:

Soviet Russia absolutely requires free passage through the Dardanelle, and also demands, for its protection, several important positions on the Dardanelle or along the Bosporus. Is Germany willing to agree to this or not?

My answer:

Germany is ready at any time to agree to changes in the Statute of Montreux that benefit the Black Sea states. Germany is not willing to approve Russian bases on the straights.

National Socialists!

I behaved as the responsible leader of the German Reich, but also as a responsible representative of European culture and civilization.

The result was an increase in Soviet Russian activity against the Reich, above all the immediate beginning of efforts to subvert the new Rumanian state and an attempt to use propaganda to eliminate the Bulgarian government.

With the help of confused and immature people, the Rumanian Legion succeeded in organizing a coup that removed General Antonescu and plunged the nation into chaos. By removing legal authority, they also removed the grounds for Germany to act on its guarantee.

Still, I believed it best to remain silent.

Immediately after this enterprise collapsed, there was a new increase in Russian troops along the German eastern border. Increasing numbers of tank and parachute divisions threatened the German border. The German army, and the German homeland, know that until a few weeks ago, there was not a single German tank or motorized division on our eastern border.

If anyone needed final proof of the carefully hidden coalition between England and Soviet Russia, the conflict in Yugoslavia provided it. While I was making a last attempt to keep peace in the Balkans, and in agreement with the Duce invited Yugoslavia to join the Three Power Pact, England and Soviet Russia organized a coup that toppled the government that was ready for such an agreement.

The German people can now be told that the Serbian coup against Germany was under both the English and Soviet Russian flags. Since we were silent, the Soviet Russian government went a step further. Not only did they organize a Putsch, but signed a treaty of friendship with their new lackeys a few days later that was intended to strengthen Serbia’s resistance to peace in the Balkans, and turn it against Germany. It was no platonic effort, either.

Moscow demanded that the Serbian army mobilize.

Since I still believed that it was better not to speak, the rulers of the Kremlin took a further step.

The German government now possesses documents that prove that, to bring Serbia into the battle, Russia promised to provide it with weapons, airplanes, ammunition, and other war material through Salonika.

That happened at almost the same moment that I was giving the Japanese Foreign Minister Dr. Matsuoka the advice to maintain good relations with Russia, in the hope of maintaining peace.

Only the rapid breakthrough of our incomparable divisions into Skopje and the capture of Salonika prevented the realization of this Soviet Russian-Anglo-Saxon plot. Serbian air force officers, however, fled to Russia and were immediately welcomed as allies.

Only the victory of the Axis powers in the Balkans frustrated the plan of involving Germany in battle in the southeast for months, allowing the Soviet Russian armies to complete their march and increase their readiness for action. Together with England, and with the hoped for American supplies, they would have been ready to strangle and defeat the German Reich and Italy.

Thus Moscow not only broke our treaty of friendship, but betrayed it!

They did all this while the powers in the Kremlin, to the very last minute, hypocritically attempted to favor peace and friendship, just as they had with Finland or Rumania.

I was forced by circumstances to keep silent in the past. Now the moment has come when further silence would be not only a sin, but a crime against the German people, against all Europe.

Today, about 160 Russian divisions stand at our border. There have been steady border violations for weeks, and not only on our border, but in the far north, and also in Rumania. Russian pilots make a habit of ignoring the border, perhaps to show us that they already feel as if they are in control.

During the night of 17-18 June, Russian patrols again crossed the German border and could only be repelled after a long battle.

Now the hour has come when it is necessary to respond to his plot by Jewish-Anglo-Saxon warmongers and the Jewish rulers of Moscow’s Bolshevist headquarters.

German people!

At this moment, an attack unprecedented in the history of the world in its extent and size has begun. With Finnish comrades, the victors of Narvik stand by the Arctic Sea. German divisions, under the command of the conqueror of Norway, together with the heroes of Finland’s freedom and their marshal, defend Finnish soil. On the Eastern Front, German formations extend from East Prussia to the Carpathians. From the banks of the Pruth River, from the lower Danube to the Black Sea, German and Romanian soldiers are united under state leader Antonescu.

The purpose of this front is no longer the protection of the individual nations, but rather the safety of Europe, and therefore the salvation of everyone.

I have therefore decided today once again to put the fate of Germany and the future of the German Reich and our people in the hands of our soldiers.

May God help us in this battle