We believe you are referring to some considerations we once made on the origin
of Roman architecture, and, more generally in this respect, on the "Forest and
the Temple" issue, two elements which are not as antithetic as some romantics
assumed them to be. Please remind us of its relevance to the matter at hand.
Round shapes are surely found in ancient Greek architecture. Such is the case of
the tholos (`rotunda'), a model associated with both cultic and civic
architecture. The prytaneum, which could be found in every Greek city, was
precisely round-shaped, "and the hearth sacred to the city was placed under the
centre of the vault, in the same way that the foyer of Delphi — foyer common to
all the Greeks — was under the summit of the heavenly vault (Dictionnaire des
Antiquités). The Prytaneum was the civic hall, the pole of the city life, and
here, on the focus of the town, was kept alight the undying fire of Hestia ; for
just as the family life centred around the hearth, so political life surrounded
the city hearth, from which colonists going from the mother town took of the
sacred central fire to establish their own prytaneum ; and if in after time it
ceased to burn, the metropolis was again the source of new fire." (R. Lethaby,
Architecture, Mysticism And Myth, p. 81-82) In the sacred precincts of Delphi
was located the Tholos `rotunda', sacred to Athena. The sanctuary of Asklepios
at Epidauros (ca. 360-330 BCE), housing a labyrinthine crypt beneath the floor,
that may have represented the tomb of Asklepios (R. Rehm, The Play of Space :
Spatial Transformation in Greek Tragedy, p. 41), is also well-known for its
tholos.
Round buildings surely entered Roman architecture : the temple of Vesta, the
Roman equivalent to Hestia, was circular ; all temples to Vesta were round ; the
temple in the Forum Boarium is also round. They entered it from Greece. The type
emerged in the so-called Geometric period (ca. 900 to 700 BCE), named so for the
abstract ornamentation which appeared on vessels, with its composite, and
actually Klimt-like, monsters, that had been extremely popular in the Near East
and in Egypt for some time. The circular shape of the roof " inspired the
designation skias (umbrella or canopy [or parasol]) for the tholos in the
Athenian Agora" (The Oxford Encyclopedia of Ancient Greece and Rome, Volume 1,
p. 52)
At this point, however, it should be stressed that none of these roofs have come
down to us, and that their shape, supposedly round and pointed, is inferred from
this designation (skias). It is speculated (see, for example, S. E. Alcock, R.
Osborne that Classical Archaeology, p. 361 – this book gives an interesting
insight on the Eastern influences on ancient Greece) that this shape was
modelled on Achaemenids' tents, a royal dynasty of ancient Persia, named after
its legendary founder Achaemenes, who is thought to have originated in the area
which is now known as Azerbaijan. Another theory, which is not in contradiction
with the former, is that it was modelled on an object which was considered as a
symbol of sovereignty among Achaemenids : the parasol, which is invariably
depicted throning above the head of their sovereigns on their monuments.
The bottom line, however, is that in ancient Greece "round buildings were
extremely rare in the period before the Athenian prytaneum was built. There
were, of course, round buildings, but they were always surrounded by stoas -
something that is certainly not the case with the tholos. »
(http://www.livius.org/ia-in/influence/influence04.html)
That, in all areas, feminine forms and shapes have the upper hand in
intrinsically matriarchal civilisations ; that, within the hierarchical and
organic order proper to intrinsically patriarchal cultures, there is a place for
feminine forms and shapes, is in the scheme of things. Chaos finds its way in
the latter as soon as forces of a corrosive and feminine nature, though human
vectors, are `allowed' to exert some influence outside their own sphere. The
rise of the round-shaped roof in ancient Greece is itself a symptom of an
infiltration of alien elements.
The dome-shaped rooftop many mosques are decorated with must be, together with
the dome of many Eastern Orthodox churches, the closest thing to the stylised
representation of a breast in architecture. Contrary to the `Gothic' mode, in
which everything is sharp and pointed, the firm flabbiness of the dome of an
Orthodox church or of a mosque is somehow reminiscent of the erg.
--- In evola_as_he_is@yahoogroups.com, "Vandermok" wrote:
>
> Before to discuss the architectures based on feminine curves, a rather
> complex matter, we have to remember the ancient passage from the forest to
> the temple, especially in the German range. Even if "natural", a forest is
> not like a cavern, or another underground womb: it grows under the sun in
> the open air.
>
> As Seneca said: "If you meet with a wood composed by very tall trees, whom
> the time gave an impression almost sacred, then his elevation, the shade and
> the silence
>
> reigning, persuade you that a god is living over there".
>
> Our owner could say more, if this is of use.
>
>
>
>
>
> Da: evola_as_he_is@yahoogroups.com [mailto:evola_as_he_is@yahoogroups.com]
> Per conto di rouesolaire
> Inviato: sabato 2 febbraio 2013 18:34
> A: evola_as_he_is@yahoogroups.com
> Oggetto: [evola_as_he_is] Re: Falsification of ancient history
>
>
>
>
>
> Thank you for your enlightening comment.
> From a spiritual viewpoint, it is obvious that "Gothic" cathedrals are from
> Semitic origin. Their architecture is tortuous, "occult", complex (we can
> imagine the extensive use of semitic mathematics which is behind), murky,
> asymmetric, all in refinements and curves, cerebral. An architecture opposed
> to the Aryan one which is frank,
> transparent, simple/mere/plain, luminous, symmetric, without frills and with
> little curves but mainly straight lines, not cerebral, clear, angular.
> It is interesting to note that Asian architectures are based in large part
> on curves (and thus on characteristics of the female body) while Aryan
> architecture is based on straight lines and angles (and thus on
> characteristics of the male body). So, Asian and Aryan architectures are the
> materialization of their spirit, the first a feminine spirit, the second a
> virile spirit.
>
> --- In evola_as_he_is@yahoogroups.com
> , "tlefranc10" wrote:
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > It is probable that Gothic characters are of non-European origin – perhaps
> not of Jewish origins specifically, however.
> >
> > Revisionist historian Edwin Johnson, who has already been discussed in
> this thread, seemed to think that Gothic characters had a dubious origin,
> although, to the best of my knowledge, he did not elaborate on this subject.
> >
> > He dwelt more on the questions of the cathedrals and, more generally, of
> the real origins of Gothic architecture. His opinion on this subject is
> final: Gothic architecture is of Arabic/Islamic inspiration. He supported
> this claim mainly in the book "The Rise of English Culture" and the paper
> "Gothic and Saracen Architecture" (from page 656 of this review:
> http://archive.org/details/westminsterrevi01unkngoog).
> >
> > This paper is particularly interesting and should be read. To be fully
> understood, it is necessary to know that Johnson argued that Islam came
> first, then Judaism and, finally, Christianity. In this paper, Johnson
> relies heavily upon Christopher Wren, who said that Gothic architecture
> should be considered as "Saracen architecture refined by the Christians" and
> an importation of the "crusades". Interestingly, according to Wren, "gothic"
> was a pejorative term for the men of the seventeenth century – as is
> "barbarian" today. Johnson also discusses the origins of the first
> freemasons.
> >
> > Johnson believed that cathedrals were not as old as official history has
> it – perhaps that they were built from the fourteenth century on. He touched
> upon this in his book "The Pauline Epistles". I have been critically
> studying the origins of the cathedrals and I would tend to agree with him –
> monastic tales of cathedrals being built in Germany and Europe at the time
> of Constantine and during the "dark" centuries seem to be fabulous to a
> large extent. However, perhaps Johnson was not bold enough in his thinking:
> cathedrals, as we can see them today, may be much more recent. I have been
> studying the cathedral of Cologne in particular, in order to go further than
> Fomenko who studied this cathedral, and this is what would appear. I will
> write more on this in the future – I need to read a few more books before I
> can be certain of what I say.
> >
> > For those who read French, the books of architect and historian Daniel
> Ramée (1806 – 1887) could prove very interesting
> (http://www.inha.fr/IMG/article_PDF/article_a2505.pdf). A racialist and
> aryanist heavily influenced by Gobineau's works, he wrote an enormous book
> on the history of architecture, which contain perhaps interesting thoughts
> on Gothic architecture. Foreshadowing Alfred Rosenberg, he had a profound
> anti-Christianity stance and wrote a very interesting book, "Action de Jésus
> sur le monde", explaining how Christianity negatively impacted the European
> peoples. "Théologie cosmogonique ou reconstitution de l'ancienne et
> primitive loi" is of the same vein, except it dwells more on the Aryan
> worldview. It contains a few things fanciful, however. All these books can
> be downloaded online.
> >
> >
> > --- In evola_as_he_is@yahoogroups.com
> , "rouesolaire" wrote:
> > >
> > > Could "Gothic" font, like "Gothic" cathedrals, be of Semitic origin? Has
> someone noticed how similar in their shape its letters are compared to the
> hebrew alphabet?
> > >
> > > http://i31.servimg.com/u/f31/15/11/93/67/kaph10.jpg
> > >
> http://perlbal.hi-pi.com/blog-images/249807/gd/1208625471/Lettres-de-l-alpha
> bet-Gothique.jpg
> > >
> > >
> http://www.kazeo.com/sites/fr/photos/172/histoire-des-lettres-hebraiques_172
> 4570-L.jpg
> > >
> http://lettres.tice.ac-orleans-tours.fr/php5/pedag/chev-lion/images/alph/alp
> h1.gif
> > >
> > >
> > >
> > > --- In evola_as_he_is@yahoogroups.com
> , "Evola" wrote:
> > > >
> > > > http://fr.scribd.com/Sunny0815/documents leads to a page where a link
> (http://www.scribd.com/doc/46816156/Wilhelm-Kammeier-Die-Faelschung-Der-Deut
> schen-Geschichte-1935-308-S-Scan-Fraktur
> > > > )can be found to the original edition of Die Faelschung Der Deutschen
> Geschichte (The Falsification of German history), which was published in
> so-called `Gothic' font ; we say `so-called' because the term was first used
> to describe this script in 15th-century Italy, a script which remained in
> use in Germany until the 1940's.
> > > >
> > > > It was published in `Roman' font at
> > > >
> http://siriusnetwork.files.wordpress.com/2012/10/ebuch-deutsch-wilhelm-kamme
> ier-die-fc3a4lschung-der-deutschen-geschichte-band-1.pdf It was written in
> plain language. It should be noted that the author is not a `free electron',
> since his critical re-examination of presumed historical facts and existing
> historiography relies to a large extent on earlier revisionist sources.
> > > >
> > > > https://rapidshare.com/#
> !download|584p1|1796052455|Baldauf.rar|32339|0|0|Download permission denied
> by uploader. (0b67c2f5)
> > > >
> > > >
> > > >
> > > >
> > > >
> > > > --- In evola_as_he_is@yahoogroups.com
> , "tlefranc10" wrote:
> > > > >
> > > > >
> > > > >
> > > > > I knew I had forgotten something:
> > > > > -A book, very hard to find, by Robert Baldauf, another "recentist",
> has been kindly put online by a member of
> http://de.geschichte-chronologie.de; it can be downloaded there:
> http://rapidshare.com/files/1796052455/Baldauf.rar; again, if someone reads
> it, please share your impressions
> > > > > -As very little is known on Robert Baldauf, almost as if this man
> had never existed, some, at
> http://de.geschichte-chronologie.de/index.php?option=com_kunena
>
func=view&catid=16&id=7447,> &Itemid=152&func=view&catid=16&id=7447, have
> cleverly suggested "Robert Baldauf" was a pseudonym of Nietzsche; this is
> only a wild supposition but could Nietzsche's depression and madness have
> been caused by the conviction Antiquity, of which he cherished many aspects,
> had been falsified?
> > > > >
> > > > > --- In evola_as_he_is@yahoogroups.com
> , "tlefranc10" wrote:
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > > Here is an update, mostly on Wilhelm Kammeier, whose books may
> well contain "explosive" information and ideas on how to reinterpret
> history:
> > > > > >
> > > > > > -His works which were republished in the nineties can be found
> there: http://fr.scribd.com/Sunny0815/documents; It is much more easier to
> read than the gothic font of the 1930s
> > > > > > -A scholarly study on him was published twenty years ago:
> http://www.mgh-bibliothek.de/dokumente/a/a0808556.pdf
> > > > > > -The text there:
> http://www.nationmaster.com/encyclopedia/Wilhelm-Kammeier is only copied and
> pasted from Fomenko's works
> > > > > > -The biography published in Fomenko books contains a few minor
> mistakes; for example, Kammeier was never a notary; he was a school teacher
> by training and was a primary school teacher since 1912
> > > > > > -I have already written a 6-page biography and introduction to his
> thought, based on all the available publications, and plan to translate a
> few parts of his books
> > > > > > -However, I have yet to read all his lengthy work (I barely read
> German besides); so, if someone reads his books, do not hesitate to let us
> know what you have learnt!
> > > > > >
> > > > >
> > > >
> > >
> >
>