by Frances Fowle

George Frederic Watts, in common with such social commentators as William Morris, Ruskin and Carlyle, began to question the benefits and purpose of modern industry and commerce and their dehumanizing effects. In 1880 he wrote, “Material prosperity has become our real god, but we are surprised to find that the worship of this visible deity does not make us happy.” (G.F. Watts, “The Present Conditions of Art”). Four years later he decided to personify this so-called deity—the evil “Mammon”—in paint.

The picture is nearly life-size and the seated figure against a curtained backdrop calls to mind the portraits of Titian. However, instead of an established figure or celebrated beauty, Watts depicts an object of revulsion, seated on a throne decorated with skulls. Just behind the curtained background we are offered a glimpse, not of a peaceful landscape, but of fire and destruction. The picture is painted in a rich, almost hellish palette of red, gold and black. Watts visualizes Mammon as a brutish despot: an ugly, lumpen figure seated on his throne, nursing his moneybags on his lap. The ogre brushes aside a beautiful girl with one hand, and crushes a young man under foot. Both are symbols of youth, innocence and beauty; yet, naked and vulnerable, they are also lifeless and inert. Mammon sits in glory with his “gorgeous but ill-fitting golden draperies, which fall awkwardly about his coarse limbs” (M.H. Spielmann, “The Works of Mr. George F. Watts, R.A., with a Complete Catalogue of his Pictures,” Pall Mall Gazette, 1886, p. 21). In the oil study (Watts Gallery, Compton), Watts also gives Mammon a bandaged, gouty foot, a symptom of his indulgent and excessive lifestyle.

Mammon’s crown, with its upended gold coins and ass’s ears, symbolizes Mammon’s ignorance and stupidity, but also links him with Ovid’s King Midas, whose touch turned everything to gold and to whom Apollo gave ass’s ears because he did not respond to the music of the lyre. The best-known literary reference to Mammon occurs in Spencer’s Faerie Queene, book II, canto 7. Spencer describes Mammon as tanned by soot from the blacksmith’s forge, a detail that perhaps accounts for the smoke on the right hand side of the painting.

The subtitle of the picture—Dedicated to his Worshippers—is like an inscription on a monument. Watts apparently had plans to commission a sculpture of Mammon which would be set up in Hyde Park and “where he hoped his worshippers would be at least honest enough to bow the knee publicly to him.”

Published in: on November 1, 2013 at 9:11 pm  Comments (5)  
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Civilisation’s “Heroic Materialism”

Originally I posted this article on April 25, 2012. But now that I have been postulating that the One Ring of greed and power—that we might start calling “the Aryan Problem”—could be the main factor in the West’s darkest hour, I am moving it at the top of this blog.

Below, some excerpts of “Heroic Materialism,” the last chapter of Civilisation by Kenneth Clark. (For an introduction to these series, see here.) Ellipsis omitted between unquoted passages. Also, the headings don’t appear in the original text:

The westerners’ new god: Mammon

Imagine an immensely speeded up movie of Manhattan Island during the last hundred years. It would look less like a work of man than like some tremendous natural upheaval. It’s godless, it’s brutal, it’s violent—but one can’t laugh it off, because in the energy, strength of will and mental grasp that have gone to make New York, materialism has transcended itself. It took almost the same time to reach its present conditions as it did to complete the Gothic cathedrals. At which point a very obvious reflection crosses one’s mind: that the cathedrals were built to the glory of God, New York was built to the glory of mammon—money, gain, the new god of the nineteenth century. So many of the same human ingredients have gone into its construction that at a distance it does look rather like a celestial city. At a distance. Come closer and it’s not so good. Lots of squalor, and, in the luxury, something parasitical.

Blake’s Satan

One sees why heroic materialism is still linked with an uneasy conscience. The first large iron foundries like the Carron Works or Coalbrookdale, date from about 1780. The only people who saw through industrialism in those early days were the poets. Blake, as everybody knows, thought that mills were the work of Satan. ‘Oh Satan, my youngest born… thy work is Eternal death with Mills and Ovens and Cauldrons.’

The [slave] trade was prohibited in 1807, and as Wilberforce lay dying in 1835, slavery itself was abolished. One must regard this as a step forward for the human race, and be proud, I think, that it happened in England. But not too proud. The Victorians were very smug about it, and chose to avert their eyes from something almost equally horrible that was happening to their own countrymen.

In its early stages the Industrial Revolution was also a part of the Romantic movement. And here I may digress to say that painters had for long used iron foundries to heighten the imaginative impact of their work with what we call a romantic effect; and that they had introduced them into pictures as symbolising the mouth of hell. However, the influence of the Industrial Revolution on Romantic painters is a side issue, almost an impertinence, when compared to its influence on human life. I needn’t remind you of how cruelly it degraded and exploited a mass of people for sixty or seventy years.

What was destructive was size. After about 1790 to 1800 there appeared the large foundries and mills which dehumanised life. Long before Carlyle and Karl Marx, Wordsworth had described the arrival of a night shift ‘that turns the multitude of dizzy wheels, Men, maidens, youths, Mothers and little children, boys and girls, Perpetual sacrifice.’

The terrible truth is that the rise in population did nearly ruin us. It struck a blow at civilisation such as it hadn’t received since the barbarian invasions. First it produced the horrors of urban poverty. It must have seemed—may still seem—insoluble; yet this doesn’t excuse the callousness with which prosperous people ignored the conditions of life among the poor on which to a large extent their prosperity depended, and this in spite of the many detailed and eloquent descriptions that were available to them. I need mention only two—Engels’s Conditions of the Working Classes in England, written in 1844, and the novels written by Dickens between 1840 and 1855. Everybody read Dickens. But his terrible descriptions of poverty had very little practical effect: partly because the problem was too big; partly because politicians were held in the intellectual prison of classical economics.

The images that fit Dickens are by the French illustrator Gustave Doré. He was originally a humorist; but the sight of London sobered him. His drawings were done in the 1870s, after Dickens’s death. But one can see that things hadn’t changed much. Perhaps it took an outsider to see London as it really was.

Degenerate architecture

At the beginning of this series I said that I thought one could tell more about a civilisation from its architecture that from anything else it leaves behind. Painting and literature depend largely on unpredictable individuals. But architecture is to some extent a communal art. However, I must admit that the public buildings on the nineteenth century are often lacking in style and conviction; and I believe that this is because the strongest creative impulse of the time didn’t go into the town halls or country houses, but into what was then thought of as engineering. In fact, all modern New York started with the Brooklyn Bridge.

In this series I have followed the ups and downs of civilisation historically, trying to discover results as well as causes; well, obviously I can’t do that any longer. We have no idea where we are going, and sweeping, confident articles of the future seem to me, intellectually, the most disreputable of all forms of utterance. The scientists who are best qualified to talk have kept their moths shut.

The incomprehensibility of our new cosmos seems to me, ultimately, to be the reason for the chaos of modern art. I know next to nothing about science, but I’ve spent my life trying to learn about art, and I am completely baffled by what is taking place today. I sometimes like what I see, but when I read modern critics I realise that my preferences are merely accidental.

Western civilisation has been a series of rebirths. Surely this should give us confidence in ourselves. I said at the beginning that it is lack of confidence, more than anything else, that kills a civilisation. We can destroy ourselves by cynicism and disillusion, just as effectively as by bombs. Fifty years ago W.B. Yeats, who was more like a man of genius than anyone I have ever known, wrote a famous poem.

Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Germany: be warned!

Denise, one of the commenters at Occidental Dissent today, addressing another commenter said:

Dammler: Jews created World War II. They created that mess. Hitler tried to prevent Jews doing to Germany what they did to Russia. Screw off. The problem with Adolf and the National Socialists is that they were too liberal. When one pulls up the rock on the real history of the kikenvermin one marvels at the fact that they weren’t all hunted down and killed off completely.

My sister and I were discussing this error of judgment at Easter Dinner. I’ve concluded that Jews escaped their well-deserved fate because we did not possess mass communications before. The Juden Tuefel would go to one place—wreck that, get the boot, then go somewhere else. The new Host knew nothing about what happened in “the last place.” The whole effing world is pretty much on to the Hebes, now. America is the Last Bastion of Cluelessness—but that miasma is rapidly dwindling. As the economy implodes, due the systematic, eternal malevolent machination of the Spawn of Satan, I see more and more folks wising up. When the USA is Cypressed hell will breaketh loose, and the Spawn of Satan will be sent back to their Daddy in Hell. Expulsion #110 will be global, and final—and they’ve brought it all on themselves.

Can’t wait. I’m stocking up on lots of popcorn.

Ditto: sooner or later the USA will get Cypressed. Those who have been following the entries of this blog under the category “currency crash” know that there is no question that the dollar will collapse and probably hyperinflate.

Germany: pay attention please!

Most of the thousands of tonnes of your gold in the Federal Reserve Bank of New York, located beside the gold that belongs to other countries, should be instead in Frankfurt or Berlin.

RickardsThe economist James Rickards has been predicting for some time that, after the dollar hyperinflates, the thousands of tonnes of gold in New York will be confiscated from the Europeans, Japanese and the IMF by the US government: a nation that already is the main perpetrator of the crime of the century when we were born.

If the dollar crashes under the watch of Ben Bernanke, and some Austrian economists are predicting that it will crash under this Obama administration, the US government will probably combine all of its gold with the confiscated gold of the nations that naively deposited it overseas and have 17,000 tonnes or upwards of 20,000 tonnes: 70 percent of all the official gold in the world.

Federal-Reserve-Bank-of-New-YorkThat would be enough to “reboot” the crashed economic system after the dollar hyperinflates! To boot, with that amount of gold the nation that led the crime of the century will be able to continue to dictate the international monetary system along with still more Americanism: exactly the sort of Yankee Americanism that has been leading the white race to extinction throughout the western world!

I would recommend Germany and other countries to withdraw all of your gold reservoirs from Yankeedom, exactly what Hugo Chávez did before he died.

Take heed, you have been warned…

Ex Gladio Libertas!
68 Anno Hitleris

On Kenneth Clark’s “Civilisation”

Kenneth Clark may have been clueless about the fact that race matters. Yet, that our rot goes much deeper than what white nationalists realize is all too obvious once we leave, for a while, the ghetto of nationalism and take a look at the classics, just as Clark showed us through his 1969 TV series Civilisation.

Compared to the other famous series, Clark’s was unsurpassed in the sense that, as I have implied elsewhere, only genuine art—not science—has a chance to fulfill David Lane’s fourteen words.

By “art” I mean an evolved sense of beauty which is almost completely absent in today’s nationalists. Most of them are quite a product of Jewish modernity whether with their music, lifestyles or Hollywood tastes, to a much greater degree than what they think. For nationalism to succeed an evolved sense of female beauty has to be the starting point to see the divine nature of the white race. In Clark’s own words, “For all these reasons I think it is permissible to associate the cult of ideal love with the ravishing beauty and delicacy that one finds in the madonnas of the thirteenth century. Were there ever more delicate creatures than the ladies on Gothic ivories? How gross, compared to them, are the great beauties of other woman-worshiping epochs.”

Below, links to excerpts of most of the chapters of the 1969 series, where Clark followed the ups and downs of our civilisation historically:

“The Skin of our Teeth”

“The Great Thaw”

“Romance and Reality”

“Man—the Measure of all Things”

“The Hero as Artist”

“Protest and Communication”

“Grandeur and Obedience”

“The Light of Experience”

“Heroic Materialism”