The temples of the West are crumbling. More than eight hundred churches were vandalized last year in France alone. Christian sanctities in other countries, like Germany, are plagued in a similar manner. Statues have been beheaded, tabernacles smashed. Attacks seem to be coordinated by groups whose methods and backgrounds differ, but whose goals are one and the same. These well-meaning, multi-faced missionaries unify in the crusade against the European, Greco-Roman culture, in an attempt to remove what is left of it from the face of the earth.
And the time is ripe. In this dark hour, people cling nervously to the flickering, dying light, as the shadow from a big, dark hand covers Europe.
Once preserved and cherished, these great temples of the Western World have been degraded to the worship of ashes. Literally.
Two weeks after the arson attack on the second largest church in Paris, Saint Sulpice, the world witnessed Notre Dame as it was swallowed by flames. The mainstream media immediately deemed the incident an accident and directed the focus to the ongoing construction work on the site. Callers mentioning growing number of attacks on churches in France, and other European countries, were silenced synchronously across the board.
“You have the sense that a living, breathing faith is just becoming actually a museum, an art gallery, a storage facility,” Mark Steyn remarked at Tucker Carlson Tonight on the day of the Notre Dame fire. He posed the question that will hunt the minds of many in the times to come: “is it a hole in the soul, or is it just a missing building, burned to the ground?”
Macron, also known as the *Savior of Reason*, has spoken: Notre Dame will be rebuilt in five years, “more beautiful” than before, supplied with a “contemporary architectural gesture,” and he has announced an international competition to redesign the roofline of the cathedral.
Alas, Victor Hugo (author of The Hunchback of Notre Dame), you thought that centuries of various architectural styles added to the gothic structure was a hard hit for the pride of Paris?
Put the British architect Francis Terry in charge, Emmanuel Macron. He has proposed to faithfully restore Eugène Viollet-le-Duc’s spire from the 19th century. It was an objectively marvellous spire that harmonized with the structure — it does not matter how old it was.
But is there any hope for Francis Terry? No. The hungry hyena artists are circling their prey. The cathedral will be smeared with a parasitic excrescence, as has been the case with so many other buildings.
In ancient times, Theodosius II desecrated the temple of Olympia, along with other tyrants that teared down heathen temples or converted them to Christendom.
Today we are witness to the tyrranic rule of Globalism, paired with the aniconism of Islam.
In the Middle East, ISIS have obliterated wonders of the ancient world, including the partial destruction of the Roman theatre in Palmyra and countless sculptures.
In the West, drunk artists smash high-quality plaster copies of ancient statues, they make fun of and ironize classical representations. In recent time, social justice warriors have taken down and destroyed confederate statues and monuments in America.
And what do these self-righteous movements have in common? They despise representations of the human figure. They worship Art with a capital A. That parasite called “Art” which cannot thrive anywhere outside the presence of kitschy, classical objects.
The common end goal of muslims and New World Order fanatics is to reduce civilization to abstract patterns as witnessed in the Greek Dark Ages and the Arab world.
There are efforts in these days to portray the Dark Ages of Europe (c. 400-1000 AD) — not as a time of stagnation — but as part of a smooth, ascending curve from Stone Age to Enlightenment.
If that was true one would have to erase all of history prior to the Fall of Rome in 476 AD.
Golden Ages seem to be reversed almost as soon as they emerge, only to become subject to total destruction in the long lasting Dark Ages. The quality of the handcrafts might be indicative of cultural progression and regression in the history of mankind. One can only look at more recent history:
Children learn from their own mistakes, grownups can and should learn from history.